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When it was first broadcast in 1975, there had never been a more lavishly produced science fiction TV series than Space: 1999, a British production whose budget for the first of its two seasons ran an astounding £3.25 million. What keeps us fans enthralled after all these years has only partly to due with the first-rate production values, the plausibly constructed spaceship models, and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV sci-fi predecessors such as Star Trek, whose mood was more convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth's orbit and travel endlessly through space, turning our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this.

Of course the show is not without its detractors; it has been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticized the show for its premise in the opening episode, "Breakaway," which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth's orbit and flying through space without regard to any physical laws. In "Earthbound," aliens traveling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena that the crew members encounter on their journey through the galaxy.

The Space: 1999 Mega Set collects all 48 episodes broadcast over the show's two seasons, contained on 16 DVDs that include vintage interviews, production stills, TV promotional spots, and interactive menus. All episodes have been digitally remastered, and some material that was not seen in the original U.S. broadcasts has been restored. --Jim Gay ... Read more

Reviews (25)

SPACE 1999 THE NEXT GENERATION!
If you want to see the science fiction show that bridged the first Star Trek and the Next Generation, this is it.Many of the plots, characters and ideas would be used for the next generation series , and even The X-files and Alien. When Space 1999 came out in the early 70's George Lucas claimed he woudn't have been able to make Star Wars without it. Even today the show feels very modern with its blend of gothic horror, the paranormal and science fiction. Many episodes are filmed in a neo-surrealistic style akin to Luis Bunel and Hitchcock. This mega set is the way to go, since it has year 1 and 2 episodes in order and bonus material. In a long run it will be cheaper to buy this set than the individual sets. This is the sci-fi release of 2003!!!!!!!

Which came first,Star trek or Space 1999?
I guess I am going to upset a few "trekkies" with this review. But as a new Star Trek "Next Generation" fan I was a bit surprised to see a lot of similarities between the two.
There are several episodes in Space 1999 where they bring up the "Prime Directive." Also there is an episode "Alpha Child" where a child is born then matures immediately which is similar in a way to the episode where counselor Diana has her baby. The stun gun idea, the costumes..... it all seems like this is a great idea source for the later Next Generations series. I do agree however with the other reviewers about it being two dimentional and charcterless. But it is worth watching as a background to Star Trek's Next generation. (I will probably get blasted by Original Star Trek fans who will no doubt let me know that this series has borrowed its' ideas from the original Star Trek. I can't tell as I have not seen that series since I was a child)

A truly big and beautiful set!
I love this show! Space 1999 the Mega Set is indeed MEGA!! You get both seasons and a bonus disc with a special final episode. I loved both seasons of Space 1999 for different reasons and wanted to add each episode to my DVD collection. This mega set is just perfect for me.

Great Series, Great DVDs.
I actually bought all 8 seperate 2 disc boxes rather than wait for 6 months until this 'mega-set' came out. Either way, you are getting the entire series of Space 1999, which hasnt aired on TV where I live for 20+ years. A great collection for fans. On an intresting note, A&E have a 17th 'bonus disc' which includes a 'series finale' that wasnt ever aired, only available on their website.

I definatly recommend getting this series from amazon.com and then checking out the 17th disc on A&E's site.

Ah, yes . . .
I was born on Halloween of 1969, making me a little too young to have really watched the chronicles of the Moonbase Alpha and understood them. They have probably been shown in syndication, somewhere, but I've missed them. As I got older, I recall back-to-back episodes of STAR TREK (preceeding the Merv Griffin show, unless I'm mistaken), and the requisite STAR WARS fanaticism of most boys my age. Naturally, I ate all of that stuff up, collecting all of the toys and books upon which I could probably retire if they were still in my possession. Yeah, yeah - I did the BATTLESTAR GALACTICA thing too (and recall enjoying it, though SF purists now tend to scoff at it).

But SPACE 1999 . . .

I know that I've seen it, for there is one thing that leaps to mind whenever it's mentioned: that shape-shifter chick. She was alien, I would surmise - and HOT. That's what I remember, and all that I remember. Just an attractive, sexy, dark-haired being who could turn into . . . other stuff. I can almost, just vaguely, see Barbara Bain - but the alien girl . . . she must have sprung some kind of tiny spring in my pre-adolescent being . . . and it sits there, still boinging in her memory.

This, and the faint recollection of being scared as I watched a show which was probably way above my head . . .

The reviews here are very good, intriguing. There were always articles on this series in the movie mags I got as a kid (Starlog, Fantastic Films, etc.), nestled in between the episode guides to STAR TREK and the I-wish predictions for REVENGE OF THE JEDI . . . I guess that I just never managed to catch it when I got older.

But, if I get the extra money, sometime - yep, I'm going to spring for the megaset . . .

I hope that chick is still hot . . . ... Read more

Reviews (47)

Undisputedly, Allen's most brilliant and mature movie.
What can I say about this movie, except that I have seen it more times than I can count. Each time I watch it, something more is revealed and to me that is the sign of truly excellent writing. The characters are three-dimensional, each with their own idiosyncracies and contradictions. The separate plots compliment each other and stay distinct till the very end, yet they both deal with fundamental human issues and dilemmas. The cast is first-rate. Much of the movie is seen through Allen's character; as always, a cynical and unhappy man, yet you leave the film feeling a certain satisfaction and a greater insight into human behavior. The philosopher is a second narrator, in a sense, and his points of view are pertinent to both of the parallel plots. His suicide adds a twist to the story, where the viewer is suddenly left unsure on how to feel about his poignant words which we once trusted and valued. Overall, the movie is a gem and should be seen by every serious Woody Allen fan as well as those who can't stand him.

The eyes of God are on us always
Two stories run parallel to each other, destined to meet in the denouement. Judah Rosenthal (Martin Landau), a successful opthamologist, contemplates murdering his hysterical mistress (Angelica Huston). On the flipside, Clifford Stern (Woody Allen) falls for Halley Reed (Mia Farrow), the woman producing a documentary he’s directing on his loathsome brother-in-law, a successful television producer (Alan Alda). One narrative carries its inherent weight well. Landau’s torment after the deed is done is palpable and painful. The other narrative seems flighty by comparison. Titular bad guy Alda shields himself from the daggers shot from Woody’s rolling eyes. However, his only real sin is lechery.

That being said, the two most heartbreaking moments in the film -- moments that rival in visceral emotion anything I’ve seen at the movies in some time -- come from the “flighty” narrative. I wish I could tell you what they were, but that would spoil the surprise. Just know that they are probably the most dramatic moments Woody Allen has ever put on film, as either director or -- and here’s the surprising part -- dramatic actor. His work is low-key and subdued here, more so than I’ve ever seen it before.

The rest of the cast is spotty at best. Landau, who I rarely believe in his roles, comes close to completely pulling off his Judah, only he misses by a few steps. One scene, where Judah exhibits poor judgement, had me astonished in my seat with disbelief. Still, more commitment from Landau would have sold the scene better. Mia Farrow gets some snappy one-liners as well as some tragic moments, but it feels like she’s forcing the issue in both respects. Also, she has little to no chemistry with Woody (at least none that I saw on screen). The best work is done by Alan Alda. His role could have been an over-the-top parody (it nearly is), but Alda pulls the reigns back just enough. His Lester isn’t really the bad man Cliff sees; he’s just a materialistic blowhard. Nothing criminal about that. Kudos to Alda for showing restraint, while sketching a living and breathing character.

There are some truly funny moments that serve as comic relief to break up the tense drama. Woody gets most of these, natch. One memorable scene involves Cliff and Lester, in which Lester pauses from a conversation about Cliff filming his documentary. He recites into a mini-taperecorder ideas about a TV farce in which a “loser” films a documentary on a successful man, and learns something in the process. Cliff, standing right there the whole time, rolls his eyes in disbelief. On paper, it may not come across how hearty a laugh this moment gets.

The most fascinating aspect of the film was probably the discussions of morality and ethics. God enters the picture once or twice (in discussion only), and man’s deeds are raked over the coals. And even though it doesn’t provide the typical Hollywood movie answers, the answers the film does provide are realistic and true and, most importantly, tragic. While the situations portrayed may be fantastic, the reactions by the characters within them were real.

Probably the darkest of Woody’s movies, “Crimes and Misdemeanors” will most assuredly be amongst the ones remembered a hundred years in the future. It balances its comedy, drama, and tragedy sublimely, creating a document of life that’s sure to provoke and entertain.

Crime but no time
I think what Allen meant to call this film was "Felonies and Misdemeanors" since a misdemeanor is a crime and the title a little redundant. That aside I think it's his best film, hands down. He managed to pull together his comic and tragic instincts into what is an entertaining and occasionally harrowing declaration of atheism. Not a philosophy everyone agrees with but he doesn't soft-pedal it. The staging of the murder that parallels Allen's romantic misadventures with a TV producer gives Martin Landau the role of a lifetime as a well-meaning physician who profits from an evil act. Great performances all around, especially Jerry Ohrbach as Landau's hoody brother and Allan Alda as a TV impressario who divests Woody of Mia Farrow (something the director probably wishes had happened in real life).

God Is Not An Idiot
Examining theodicy, the enigma of reconciling a benevolent God with capricious fate and suffering, Woody Allen fails to get much beyond a dark comic-dramatization of a freshman philosophy bull session, attempting to prove heroic enlightenment by forming agnostic conclusions.

Martin Landau plays an ophthalmologist having an affair with a frantic, aging stewardess threatening to disrupt his affluent contentment by confronting his wife. Not deriving solace from a kindly Rabbi patient and friend who is facing blindness and recommends honesty, Landau solicits help from his criminal brother to solve the problem with a hired killer. His bouts of conscience include reminiscing moral debates at a family Seder during his adolescence. His father, favoring a morally sensible existence, argues with a nihilistic aunt who trivializes the bible, believes God's non-existence is proven by The Holocaust, and views morality as a social contrivance.

Allen plays an uncompromising documentarian falling in love with an assistant (Farrow), also pursued by his boorish brother-in-law (Alda) who produces sitcoms and relishes being perceived as a creative genius. Alda's deep thoughts include the idea that with enough passage of time, tragedy becomes laughable, believing the Lincoln assassination to be an example. Alda throws his in-law a bone by allowing him to film him at work when Allen would rather work on a portrayal of a humanistic philosopher pondering serious questions. Unlike Landau's cynical aunt, the philosopher believes an empty universe is given meaning when human beings define values for themselves.

Allen's likable character turns the documentary of Alda into a satire of the man's vanity, and we gain sympathy for his protectiveness towards a favorite niece. Shielding her proves futile as Allen learns of the philosopher's suicide while on an outing with her. At a wedding reception, Allen discovers he has lost his battle for Farrow's affections to the egotist and then engages in a chance colloquy with Landau, wistful over the fading of his conscience. Allen's sadness invites us to share a resignation over the capriciousness of fate, the success of obnoxious people, the joyless end of an unmourned mistress, the unrequited love of a sensitive man, a sweet woman taken in by a cad, the blindness of a benevolent Rabbi, the despair of a man of apparent wisdom, and the return to comfort by a philanderer and murderer all serving to portray God as incompetent because life is unpredictable and joy and suffering are not proportionate to decency or malice. The answers of religion must be contrivances.

However, it requires contrivances to view God as a fool. Extreme skepticism often ignores contrary evidence to its cosmic-accident interpretation of existence. If we are just "a pack of neurons" and our mental life nothing but electrical impulses, then we cannot explain the realm of abstract concepts, including those of science. Nor can we explain the human mind's openness to truth, the foundation of all thought. Atheists cannot explain why anything should go right, even observation and deduction, why good logic should not be as misleading as bad logic, if they are both chance movements in the brain of a bewildered ape. Atheists exalt reason, but they cannot account for reason. Neither can materialism account for consciousness, free will, value judgments, and the existence of a unitary self. In a material world such things cannot exist. Matter cannot be free or have a self. Neither could free will exist if joy and suffering existed in perfect proportion with virtue and malice reducing our functionality to stimulus-response reward-punishment contingencies like that of lab rats pursuing a piece of cheese. Love and courage could not exist.

Similarly, no matter how we claim to be nonjudgmental and deny innate moral truth, we can not ignore the countering evidence of our own anger, which reminds us that there are natural expectations we have, should have, and can not avoid having of each other. Anger is the existential expression of moral outrage even when we exercise moral outrage at the very concept of moral outrage, reflexively calling anyone presenting a moral vision a hypocrite. In our sober moments, we know the life of the desperate woman is as sacred as the successful doctor. Nonetheless, we often live with the temptation to defer to "important people," hoping the identification of an imaginary human genius will confer a sense of superiority on ourselves by our presumed courage in recognizing theirs. We are quick to excuse the transgressions of genius. Morality can not be enough for great minds if they represent insights that anyone can have. Allen is a brilliant satirist of human pretense, often portraying trendy sophisticates as fools, but just as often sides with their elitist conventions that view metaphysical and moral questions as hopelessly complex needing great minds to sort it out for the rest of us. The last advice from Allen's philosopher is to hope for some genius of the future to give us life's meaning, although in the interim loving our families provides meaningful hope.

But since a benevolent creator implies the universal nature of important truth, the fading of conscience does not really occur so easily, and an ethical sense is innate to human decency. The killing of a man of noble purpose is still a tragedy 140 years later. So is the killing of a lonely mistress. A God with the wisdom to be subtle also invites us to find meaning in loving our families, which is precisely what we don't do when we exercise a blind faith in our self-definition. Self-worship is closer to the definition of evil. It may be that we prefer to ignore evidence that God is not idiotic because it helps us to avoid realizing that we often are. Why impeach our failures of decency if God is in no position to judge us negatively if we don't? Fortunately, as our better, God is merciful in judging our mendacity, our failures, and our acts of desperation. There is a vast body of literature examining theodicy, unfortunately most written by humble people whom intellectuals never notice.

Powerfully intelligent film
This is not a typical Woody Allen film in that it has an overall seriously philosophical quality. The performance of Martin Landau as a successful opthamolgist who is morally conflicted is one of the most moving and grounded Film performances I have ever seen. He is just magnificent in this movie. Allen deftly weaves Landau's story together with another thread featuring Allen as a documentary film maker who is unhappily married. His brother-in - law is an obnoxious televison producer played to great effect by Alan Alda. This film raises questions of morality , faithfulness and does so in a way that leaves the viewer to think through these issues as the characters go trough their respective moral crises. There are some laughs included but for the most part this is serious filmmaking at it's best. ... Read more

Description

Cary Grant teams with director Alfred Hitchcock for the fourth and final time in this superlative espionage caper judged on of the American Film Institute's Top-100 American Films and spruced up with a new digital transfer and remixed Dolby Digital Stereo.He plays a Manhattan advertising executive plunged into a realm of spy (James Mason) and counterspy (Eva Marie Saint) and variously abducted, framed for murder, chased and in another signature set piece, crop-dusted.He also holds on for dear life from the facial features of the Presidents on Mount Rushmore (backlot sets were used).But don't expect the Master of Suspense to leave star or audience hanging. ... Read more

Reviews (224)

Hitchcock and Grant: An Unbeatable Combination
"North by Northwest" (1959) was the fourth and final collaboration between director Alfred Hitchcock and actor Cary Grant -- and it's easily the best. Both men were at their artistic zenith when they made this superb comic thriller, which screenwriter Ernest Lehman promised would be "the Hitchcock picture to end all Hitchcock pictures." Lehman's script incorporates some brilliant setpieces that the Master of Suspense was unable to work into his previous films, such as the famous crop-dusting chase and the surreal Mount Rushmore climax. However, the highlight remains the Chicago auction sequence. Grant's screwball humor and dark charm make him the ideal Hitchcock leading man -- complemented by excellent performances from Eva Marie Saint, James Mason and Martin Landau. "North by Northwest" was Hitchcock's sole effort for MGM and he makes the most of the studio gloss. It's a top-notch production in terms of set design and matte work. In fact, author Ian Fleming considered "North by Northwest" to be the stylistic prototype for the James Bond series and wanted Hitchcock to direct the first 007 production (he turned down the offer). To fully appreciate this classic film, it should be seen in the letterbox format that Hitchcock intended. One of the all-time greats.

I'M AN ADVERTISING MAN, NOT A RED HERRING...
I won't bore you with the summary as I'm sure who ever is on this page has seen other reviews with the synopsis of North by Northwest. In my opinion, this and Psycho represent Alfred Hithcock at his apex and definitely NBNW is one of the greatest films of all time (it's in the AFI Top 100 Movies of all time). Sure maybe there are errors in it but no movie is perfect, nonetheless it comes close to perfection. It moves along, solid storyline, legendary actors and actresses (the always debonair Cary Grant; the beautiful Eva Marie Saint; the cool, calm, evil that James Mason exudes and the dark, sinister presence of Martin Landau) performing their parts to perfection. Hitchcock didn't need to use special effects, loud explosions or graphic violence to keep the viewers entertained. The characters and the storyline keep the viewers glued to the screen and the underlying espionage story was appropriate given the era of the Cold War. This was the template for future action/adventure/spy thrillers and I am even tempted to say that this could be a 1959 version of The Fugitive, ordinary man accused of a crime he didn't commit and has to exonerate himself! You forget this movie is over 2 hours long the way it moves briskly along. A perfect melange of comedy, action and suspense. See it if you haven't and buy it if you can, you WILL NOT regret it. A timeless classic!

HIS BEST CHASER...
It seems 2 me that Hitchcock sort of stole many elements from his pre-chaser-films and said: "Good-eeeeevening..... You think you have seen my best efforts, but I must unfortunately dissappoint you.....!"

Indeed this is a neurotic and clastraphobic chaser and suspenser - maybe the BEST EVER - thanks 2 the talents of Ernest Lehman, Hitchcock himself, his crew and the entire cast. There are numerous highlights from this film; I prefer NOT 2 single out any of them in favour of others. This film belongs IN EVERY HOME:-)

I LOVE this movie!
This movie is not only Hitchcock's best (just a tad behind 'Vertigo', in my opinion), but is one of the best movies ever made. Movies rarely have it all (story, acting, visuals, music, wit, action, suspense, 'hipness', and sexiness), but this movie has it all in spades.

Some of my favorite things about this movie:

1. Eva Marie Saint - Stunning...absolutely stunning. Everybody always thinks about Grace Kelly or Kim Novak in association with Hitchcock, but, for my money, Eva Marie Saint is the most drop-dead gorgeous of any leading lady.

2. The settings - The United Nations interior scenes are mouth wateringly rich. It really makes you want to go back in time to when everything 'modern' was new and exciting. We take so much for granted these days. The Cropduster scene is exciting and vastly more inventive than action movies being made today. Van Damm's House is the epitome of the promise that modern organic architecture once held. The scenes at Van Damm's house are even more amazing when you consider that the exterior settings are entirely fabricated, in a pre-CGI effects sort of way. They are more convincing than CGI scenes of today. Amazing.

This is one movie I never get tired of. Buy it and you won't be sorry.

One of the Greatest Thrillers of All Time
This is arguably Cary Grants best film. Couple that with a terrific cast, dynamite story, immortal one-liners, some great scenes in actual locations, and classic Hitchcock editing and you have a shoe-in on any "best of all time list". This movie was made in 1958 and although it was current in it's day, it now is just as current as a period film set in 1958, keeping in mind of the political climate and cold war attitudes of the time. The costumes are very natural, having been bought in actual New York stores, and the set designs are beautifully designed. The set decoration is also first rate.

This DVD is a superb transfer. The color looks perfectly natural, the sound is full, low noise stereo and the widescreen is anamorphic. There is hardly any flaw in the print. Amazing. The menu is also animated to match the Saul Bass opening title and is wonderful. The "making of" film (30 minutes long) is superb and hosted by beautiful leading lady "Eve Marie Saint".

Finally, the score by Bernard Hermann adds to the high tension of the action. The orchestration and performance on this film is one of the very best of all time. I can't recommend this film enough for action, solid story and terrific action besides just being completely entertaining. ... Read more

Description

Can two clueless Georgia homegirls with big hearts -- and even bigger hair -- find happiness, fame and thrills in the swank hills of Beverly? Anything is possible when you are B.A.P.'s ... Read more

Reviews (24)

Terribly funny and uplifting when you are down in the dumps.
I liked this movie; it made me laugh at a time when I was down in the dumps. I know Ms. Berry and Mr. Landau have been in better movies; but this one showcases their ability to be funny. Besides, if you cannot have any fun now and then; why make movies in the first place. The plot is great because it shows just what can happen when two blacks girls follow their dreams. Even though it doesn't seem like it will work out for them in the end, it really does after all. Troy Beyer is the writer, Robert Townsend directed, black actors starred in it. Give this movie a break; it is a comedy; it is not supposed to be a drama like "Titanic". The scenes in the restaurant were funny and realistic; two black girls meeting celebrites they have only read about and heard about. If that is not funny I don't know what is. When will we (African-Americans) start giving each other credit for our accomplishments in the film industry??? It is high time we started recognizing each other's talent. When we do, others will recognize our talent as well.

About time a campy BLACK comedy came along!
I for one am sick of reviewers like Mr. Maltin automatically panning everything that isn't of the same level as say "The English Patient" or "Casablanca". Some movies are just straight up comedy, aiight already?! While this movie does portray stereotypes such as the trashy ghetto fabulous urban black wannabe diva and the ultra snobby and stuffy white Beverly Hills millionaire, these stereotypes are (it seems to me) intentional and just add to the laughter! Yes, the plot is contrived, yes it probably couldn't happen in real life, but who gives a s@#$? It's funny as hell, filled with celebrity cameos, and let's face it - where else could one see Miss Halle Berry sporting gold teeth, finger waved platinum blond hair, and vinyl hot pants?! The hairstyles and clothes alone are enough to laugh oneself into intensive care! This movie is the type I have been waiting to see for quite awhile, a campy black comedy for the 90's!

Absolutely Hilarious!!!!
Long before Halle's Oscar, she was just another B star celeb. This movie is her best comedic performance to date. Halle shines as a southern girl who decides to live her drams of being famous in LA with her best friend (Natalie Desselle) and wind up acting in a much bigger role than they anticipated. Natalie played the perfect chubby, but funny sidekick to Halle's Niecy. Although it starts as a comedy, it ends with excitement and joy. I recommend this movie to everyone who needs a great laugh!!!

LOVED THE MOVIE
THE MOVIE IS HILARIOUS. YOU HAVE TO THINK OF HOW GREAT OF AN ACTING JOB SHE (HALLE BERRY) DID IN THE MOVIE CONSIDERING WHAT SHE WAS GOING THROUGH IN HER PERSONAL LIFE. SHE WAS FORCED TO BE FUNNY AT A TIME IN HER LIFE WHEN NOT A DANG THANG WAS FUNNY. YES, THE PLOT IS STUPID AND THE CHARACTERS ARE STUPID, BIG DEAL, THAT'S WHAT MAKES IT FUNNY. THE MOVIE ISN'T MEANT TO BE SERIOUS, IT'S MEANT TO BE FUNNY. THE SOONER THAT PEOPLE REALIZE THE PURPOSE OF SOME MOVIES, THE SOONER THE WILL BE LESS OFFENDED, OR WHAT NOT. MOST MOVIES ARE FICTIONAL, AND HAVE PEOPLE DO AND SAY THINGS THINGS THAT WOULD NEVER BE DONE OR SAID IN REAL LIFE. IF YOU LIKE SCREWBALL MOVIES THIS IS DEFINITELY THE MOVIE TO SEE. I CAN'T WAIT UNTIL THE 13TH TO FINALLY GET THE DVD!!!!!

Fiiiinnne and yo' sef
Monster's Ball is ain't but then again, was it really intended to be?
Lots of fun, far from serious, light and entertaining. It was nice seeing Martin Landau in such a different role, too. I do think the intent of the movie was satirical and therefore meant to be enjoyed with all the sense of humor one could muster--(with that in mind)I laughed all the way through. ... Read more

Reviews (150)

Good Movie about a horrible film-maker
Ed Wood, Jr. is more beloved than reviled as the "creative mind" behind such grade-z movies as "Plan 9 From Outer Space", "Glen or Glenda". Though it's generally accepted that Wood wasn't playing it straight with his horrible scripts ("he's been killed, murdered....and somebody's responsible!"; "Future events like these will affect you in the future!"), unbelievable special effects and nonesensical plots, this film slightly suggests that Wood actually bought into his own nonsense. Here, Johnny Depp (is there anything he can't do?) plays the beloved but infamous Ed, a WWII vet, failed movie maker and transvestite. Playing Ed as if doing an extended Jon Lovitz impression (his lines delivered all high-pitched and non-stop), Depp's Ed is mostly innocuous and guiless (his genuine belief in the implausible predictions of self-proclaimed seer, Criswell, are a hoot) and incapable of seeing his own sheer lunacy. The script uses "Glen" and "Plan 9" as bookends on Ed's checkered career - with the first film marking his collaboration with the then well-faded horror star, Bela Lugosi (Martin Landau), and the second marking a sort of tribute to the star who died before its completion. Director Tim Burton stocks the film with a well-rounded cast - Bill Murray as transvestite "Bunny" Breckenridge, Jeff Jones as Criswell, Sarah Jessica Parker as Ed's long suffering girl friend, Dolores, Lisa Marie as "Vampira" and George Steele as Tor Johnson - that's a lot of fun, but doesn't do much with them. Bill Murray seems at times the saddest transvestite in history, mulling his paltry earnings from Ed's flicks to pay for his "procedure" while Jones' Criswell puts a damper on things when he makes all too clear how he invents his predictions. Instead, Burton's attentions are reserved for Ed and Bela, with Landau turning in a performance that's in turns hysterical (when revealing his hatred for arch-rival Boris Karloff), heartbreaking and terrifying (the forgotten star dies trying to kick a heavy heroin habit). Even so, the script doesn't stay consistent, with the emotional and humours highs isolated in their own scenes. The script reaches a depth of sorrow and horror when revealing Lugosi's profound suffering in de-tox, yet only briefly. (The script dangles the question of how well the dying star recognized the inanity of Woods' work). In other moments, the film hints at other real-life horrors like Ed's war experiences, but much of the film is actually shy of risk. Much of the conflict is between Ed and his backers - mostly evangelicals conned into thinking they were financing a religious picture and slowly realize Ed's true caliber as a film maker. Ed fights back to preserve his artistic vision without having to prove what his vision is or whether he even has one. His flagging self-confidence is restored by a chance encounter with Orson Welles (Vincent DoNofrio, also an underappreciated Hollywood fixture, his lines dubbed by the same guy who voices "Brain" on "Pinky and the Brain"). The more famed director is about to start work on a troubled epic of his own which, though never named, will be instantly recognizable to film students as "A Touch of Evil" ("Can you imagine Charlton Heston as a Mexican Cop?", Welles laments). Plunging ahead, the film works to the climax of Ed's career- the infamous "Plan 9 from Outer Space"! With Ed's trademark horrible special effects, unintelligible plot and insultingly poor script, "Plan" is almost guaranteed cult-status. Burton only recreates some of the scenes, so the last few minutes of the film plays like a montage of SNL skits, with Ed almost crying as he savors each frame. Leaving Ed before the credits roll on his "masterpiece", we never see Ed's lowly ends, his own substance abuse problems or the more clearly horrible films that marked his latter years. Burton never confronts this and misses an ironic motherlode - whether the ridiculous fantasy of Ed's pictures were supposed to be scary, or whether in seeming scary but so ineptly so, they were actually meant to symbolize a safer world than the one he experienced for real.

Plan 10 From INNER Space -- a true American classic!!!!
Yes, Eddie!
Not only Burton's best yet, but one of the finest
American films from the 90's -- or of any decade for that matter.
Cleverly written, lovingly directed, stylishly shot, acted
with empathy, scored and designed with tasteful camp, ED WOOD
is a virtual paen to Hollywoodism (whatever the hell THAT is!).

Just Czapsky's cinematography or Shore's soundtrack alone are
worthy of immense praise. And Tim Burton hits all the right notes flawlessly (for a change). Definitely his Citizen Kane.
Can't praise Depp and Lugosi enough, nor the editing, or....oh, hell! If you have any affection for the 50s, or B-Movies, or Bela Lugosi (God rest his soul), or Maila Nurmi (yum-yum), or angora, or pulp American cinema - meaning REAL American movies - then you should be a fan of this movie, regardless of what you think of Ed Wood's stuff.

Last point.
This movie is overdue for a worthy DVD treatment: docus, bios,
making-of-background -- the whole bit.
Was good enough for an Oscar for Landau, so why are we still waiting?
Yes indeed, pull that (angora) string!

No really this is good, honest
Watching Ed Wood movies and watching Ed Wood there is an alarming thing - Ed Wood's life was better suited to a movie than he was as a director! And as he tried woefully to express this side of his personality to the public with the woeful Glen or Glenda ( " Did you see the movie? Uh huh. Worst movie you saw in your life? OK but how about.....hello hello! )

Johnny Depp is hilarious as Ed and really plays the part extraordinarily well. You almost feel sorry for him as he gets rejected from everyone because he seems to have his intentions right no matter how skewed they end up being.

Of course Ed has a fetish for women's clothing which would make itself known in the film Glen or Glenda but Dolores wouldn't know about this until she read the script. Let's just say she doesn't take to it as well as Ed's rather naive script would like her to be! Although I have to admit that Sarah Jessica Parker is not exactly that easy to like in the movie

Martin Landau is the one who I think plays Bela Lugosi and I have to say that the resemblance is uncanny that you almost feel like singing the line from the Bauhaus song Bela Lugosi's Dead -" Oh Bela, Bela's not dead " indeed!

Bill Murray is fantastic in his role. As ever, he has the best lines in this movie. One of the best roles I've seen him in

I've seen this film - it must be about nearly 7 or 8 times and it's so funny that some of the lines in it are implanted in my head. One that has to be watched for those interested in seeing something a little unusual

My Favorite Movie of All Time
I have watched this movie probably 100 times and can never get enough. I cannot believe it hasn't been released on DVD yet.

The portrayal of Ed Wood is of a guy that never gives up even though he is terrible. Ever the optimist and the king of spin. He gives his pre-released version of 'Glen or Glenda' to a producer. When ED is told it's the worst movie the producer has ever seen---Ed's answer, "My next one will be better!"

When Ed is told that Bela will be kicked out of re-hab due to lack of insurance---Ed goes to Bela and tells him, "The tests all came back great---you can go home now."

Ed is a testament that it is more important to be positive and tenacious----rather than good.

Martin Landau REALLY deserved this Oscar. Like another reviewer said, he becomes Lugosi. I really feel Martin's portrayal of Bela more than I have ever felt any on-screen performance---ever. He brings me to tears almost every time. It's heartbreaking, funny and perfect in every single way.

From getting the whole crew baptized to finance a movie----to parading around the set in a wig and a dress. It's a great movie.

Enjoy!

Release it on DVD already!!
I'd heard good things about Ed Wood from critics, and decided to rent it to see for myself. After all, most of the movies I enjoy the most are movies that are panned viciously by said critics. Guess what? for once, I agreed with the "screen snobs" and enjoyed this movie just as much as the ones normally dismissed by the critics.

Johnny Depp is brilliant as the ever optimistic, supremely untalented Ed Wood. It is strange to contemplate the irony that it took such a top notch director, cast and writer to honor someone like Ed.

Speaking of brilliant, don't miss Martin Landau's Oscar winning turn as Bela Lugosi. By turns hilariously profane and poignantly troubled, Landau earned his Oscar for this part.

I just wish the powers that be at the studios would hurry up and put this gem on DVD so that we can all enjoy it! ... Read more

Amazon.com

When it was first broadcast in 1975, there had never been a more lavishly produced science fiction TV series than Space: 1999, a British production whose budget for the first of its two seasons ran an astounding 3.25 million pounds. What keeps us fans enthralled after all these years has only partly to due with the first-rate production values, the plausibly constructed spaceship models, and expert special effects. The tone of the show is one of scientific dispassion, setting it apart from its TV sci-fi predecessors such as Star Trek, whose mood was more convivial. Our heroes here are in dire circumstances that require cool heads as a survival trait. Those circumstances: the 311 crew members of Moonbase Alpha experience a cataclysm that causes the moon to break away from Earth's orbit and travel endlessly through space, turning our heroes into unintentional explorers. No TV series has created a more palpable feel of hard science fiction than this. Of course the show is not without its detractors; it has been soundly lambasted for its many scientific errors. No less august a figure than Isaac Asimov criticized the show for its premise in the opening episode, "Breakaway," which had nuclear explosions on the "dark side of the moon" somehow propelling it out of Earth's orbit and flying through space without regard to any physical laws. In "Earthbound" (included in this set), aliens traveling to Earth state it will take them 75 years to reach their destination, making one wonder why it didn't take the moon that long to encounter the aliens. While these are serious complaints, fans tend to remember the scientific seriousness of the series and the sense of awe created by the many strange creatures and phenomena that the crew members encounter on their journey through the galaxy. In addition to "Breakaway" and "Earthbound," this set includes "Matter of Life and Death," "Black Sun," "Ring Around the Moon," and "Another Time, Another Place." --Jim Gay ... Read more

Reviews (61)

Possibly the worst written Anderson series
The four Gerry/Sylvia Anderson series with which I am familiar ("Thunderbirds", "Captain Scarlet", "UFO", and "Space 1999") all have much in common. At their best, they have high-spirited adventure, good character situations, campy humor, and gee-wiz sets, costumes, and gadgetry. At their worst, they have jaw dropping logical flaws, stock footage overused to the point of obvious inconsistency, and excruciatingly painful sci-babble.

"Space 1999" has some of the coolest sets and gadgetry, and it's hard not to fall in love with them. Despite critics to the contrary, I feel the acting is overall quite competent. However, the episodes tend to be so unflinchingly immersed in trademark Anderson sci-babble that at times I find them almost impossible to sit through. This is a classic and unforgivable example of a show trying to be more cerebral and failing miserably because it substitutes sheer, almost random BS for science and logic. By all means rent these discs, but don't bother to buy them.

WOW!
Where has this show been all my life? I just discovered it on DVD and I'm very excited about it! Great cast, excellent scripts, and striking FX! I will can't wait to see the other episodes of this series.

black sun on DVD
Black Sun is my all time favorite episode of Space 1999 and it looks wonderful on DVD. Space 1999 was a very unique Sci-Fi program and it remains largely misunderstood. One reviewer notes that only when facing certain death do the Alphans come alive, but that's the point: These are highly trained soldiers who must focus entirely on their duties in order to survive. They are trapped inside the Alpha base, which is described as both a barracks and a prison, and are always close to death.
Only under unusual circumstances can the Alphans let down their emotional guard. Black Sun is an unusual circumstance in which they are powerless to avoid destruction. Having exhausted all options, Bergman shares his inner thoughts and feelings with Koenig, who has tears in his eyes, and they make a final toast. It's a wonderful scene which demonstrates just why fans love this show so much.
Black Sun is a great episode of a great series.

YES!
THANKS A&E FOR PUTTING SPACE 1999 ON DVD!
THE FIRST EPISODE GETS THE WHOLE SHOW STARTED WITH THE MOON BLASTING OFF INTO SPACE AND I LOVED THE ZOMBIE LIKE ASTRONAUTS IN THIS EPISODE TOO! SET 1 ALSO HAS CHRISTOPHER LEE AND EPISODES LIKE 'BLACK SUN' WHICH SIMULATE WHAT IT'S LIKE TO BE ON QUALITY LSD. THINGS DRAG AT TIMES AND I WISH THE ZOMBIE LIKE ASTRONAUTS IN THE FIRST EPISODE ACTUALLY ATE THEIR VICTIMS, BUT OTHER THAN THAT I'M REAL HAPPY WITH THIS SET. GREAT SHOW!

really 'out there'
Critics have often not been kind to Space 1999. The program is often accused of having wooden actors because the performers are portraying military and scientific types in a tense situation that they deal with seriously. There's plenty of action, but again some critics fail to be impressed and write it off as just a display of special effects. The weirdness and mysteries presented in the show have often been viewed as bad story telling, and the Alphans have no mission other than to survive and that tends to be viewed as a lack of anything significant happening. Space 1999 is entertaining and exciting if seen as a hybrid of disaster movie and 2001. The moon is hurtling through space and things look grim for the people on it as they struggle for survival and encounter confusing 'far out' alien weirdness. They try to maintain their military and scientific bearing , but their true fear and confusion are visible below the surface and can be incredibly intense. These are great perfomances, the action is exciting, and the weirdness and mystery of it all is compelling. By season two, which I also enjoy, changes were made so that the program was more of a kid oriented adventure show and the Alphans had grown more used to their life on Alpha, but both the tense/trippy atmosphere of season one and the more jovial/comic book vibe of season two can make for entertaining viewing. ... Read more

Reviews (30)

Tuckered out.
Frenetically directed biopic of Preston Tucker, automobile entrepreneur, genius . . . dreamer. The most offensive thing about *Tucker: The Man and His Dream* is the explicit comparison between its subject and its director, Francis Ford Coppola. The Tucker automobile is evidently meant to be compared to Coppola's Zoetrope film studio, just as each man is meant to be compared to each other. (Both even have large, rambunctious families.) The great difference, of course, being that Tucker happened to be a visionary, whereas Coppola just made some decent movies in the 1970's. (Who wouldn't rather have a Tucker car than a copy of *Apocalypse Now Redux* on DVD or even the overpriced *Godfather* collection, in which Coppola -- that uncompromising "artist" -- forces one to actually bring that *Godfather Part 3* into his own home?) Notice I said the 1970's: *Tucker* was made in 1988, and Coppola's glory days had definitely passed. And no amount of flashy direction -- cut-aways, scene-blending, hyper-kinetic camera movement -- can bring them back. The cut-aways etc. don't really bring back the 1940's, either, probably because the spirit in which the movie was made belongs strictly to the excessive 80's. The visual style reflects the entrepreneurial icons of the Reagan Era -- Lee Iacocca, Michael Milkin, Donald Trump -- more often than it recalls Preston Tucker. Flash, splash, crash. Is the movie entertaining? Yes. Whatever else can be said about F.F.C., he doesn't make BORING movies. But ultimately the movie is as shallow as its basic form, which is the Old Hollywood-style worshiping, deifying hagiography (along the lines of *The Benny Goodman Story*, *Yankee Doodle Dandy*, etc.). Finally, it must be stressed again that Coppola's ego is terrifying: identifying himself with a visionary inventor like Preston Tucker is, given his own checkered career as a director, not merely offensive, but close to obscene.

Wonderful work by Jeff Bridges ...
One of his finest performances since "Starman" ... Here, Jeff gets to play a little bit of the good-natured kidder we've come to love ... as Tucker, the eternal optimist and dreamer, we experience the reality that all dreams are met with obstacles sometimes ...

The flashy style of the director has the look and feel of a Life magazine or Saturday Evening Post piece ... it's hype, sure, but it attempts to capture the entreprenurial spirit of post-war America with the swing music and stylish clothing ... Excellent performances by Bridges (both of them!), Martin Landau and even Christian Slater plays with much more subtlety than usual. Dean Stockwell does a pretty good Howard Hughes.

Get this movie and be prepared to simply sit back and enjoy it. Before the Big Three had serious competition from Germany and Japan they ruled with an iron fist. The cars we drive today are infinitely better because of competition. Should any criticize me for that statement I simply say these words: Pinto, Vega and Pacer. BTW, my new Ford Explorer is an excellent, well-designed and engineered vehicle.

Unfortunately the father-son team of Bridges didn't have nearly as much material to work with in "Blown Away", their only other movie pairing ... Lloyd Bridges plays the corrupt U.S. Senator so well that you'd like to see a full Congressional investigation on him ... Excellent sound track as well.

"It's the idea that counts, and the dream."
This 1988 movie, directed by Francis Ford Coppola and produced by George Lucas, has good acting from Jeff Bridges, Martin Landau, Frederic Forrest, and Joan Allen in the larger roles. Smaller supporting roles were also handled well by Christian Slater, Jay O. Sanders, Nina Siemaszko and Mako.

As reflected by the DVD cover, the movie is filmed in a splashy 1940's advertising style, and uses warm gold and sepia tones and some impressive camera work to tell the tale of the development of the "Tucker 48" automobile, also known as the "Torpedo" after its sleek lines (for the times), of which only about 50 were made. For its time, it had many innovative features, including a rear-mounted engine, seat belts and padded dash, push button controls, and a third central headlight that would turn when steering. The large, 4,800 pound behemoth got about 20 MPH.

In a somewhat dichotomous framework, the movie shows the result of American "Yankee ingenuity" coupled with the eventual demise of the Tucker due to pressure by the Big Three automaking competitors. Taken to court for fraud with the accusation that he would not deliver on the promise of producing a car, Tucker in fact is found not guilty, and had actually produced about 50 cars, though his business was effective ruined.

Tucker had other successes however. Just before World War II, he developed an armored car that was so fast at 80-plus MPH, the Army did not want it because they thought such vehicles should only go about 35 MPH. However, the rotating gun-turret used on top of the vehicle, the "Tucker turret", was used on American bombers, such as the B-17 and B-24, thoughout the war.

Although his business partner Abe Karatz (Landau) is quite upset that the car business folded, Tucker tells him..."It's the idea that counts, Abe, and the dream." Tucker died in 1956 from lung cancer at age 53.

The reasonably-priced DVD has the wide-screen movie, an excellent original 15-minute long 1948 promotional film made by the Tucker company (with or without commentary by FFC), a mediocre short "making of" collection of cast/crew interview clips mostly from 1988, a decent commentary by FFC, and the usual setup features.

Excellent Movie
This is an excellent movie I really like it. What I can also say is it was done in my hometown of Bay Point Ca. The scene where they are watching the movie of the car pulling into the garage and the gas man comes and opens the hood but now engine that is a block away from where I live. They also did some at the county seat and had to take down the state flags because they had to many stars on them for this time but I would recommend this movie to anyone.

A wonderful story set in a time when America was great
I first saw this movie when I was ten years old and loved it then as I do now. If you love the style of the 1940's and the incurable optimism of post-War America, then this flik is for you. Preston Tucker was true visionary who demonstrated the power and opportunities that each American has at their fingertips beginning with only a dream or two and Jeff Bridges captures the essence of this incredibly well. ... Read more

Description

One of the most amazing and captivating survival tales of WWII, the overwhelmingly acclaimed SHANGHAI GHETTO has been declared "a don’t miss documentary...powerful...eye-opening" (New York Observer). Stirringly narrated by Academy Award winner Martin Landau (Ed Wood, The Majestic), SHANGHAI GHETTO recalls the strange-but-true story of thousands of European Jews who were shut out of country after country while trying to escape Nazi persecution in the late 1930s. Left without options or entrance visas, a beacon of hope materialized for them on the other side of the world, and in the unlikeliest of places, Japanese-controlled Shanghai. Fleeing for their lives, these Jewish refugees journeyed to form a settlement in the exotic city, penniless and unprepared for their new life in the Far East. At the turn of the new millennium, filmmakers Dana Janklowicz-Mann and Amire Mann boldly snuck into China with two survivors and a digital camera to shoot at the site of the original Shanghai Ghetto, unchanged since WWII. Their never-before-seen recordings--along with interviews of survivors and historians, rare letters, stock footage, still photos, and an orignal score by Sujin Nam and Chinese Erhu performer Karen Han (Crouching Tiger, Hidden Dragon)--depicts an incredibly moving portrayal of a rich cultural life, bravely constructed under enormous hardship. DVD Features: Filmmaker Commentary; Deleted Interviews; Hebrew/English Subtitles; Theatrical Trailer; Filmmaker Biographies; Interactive Menus; Scene Selection ... Read more

Reviews (1)

Lost Story of Painful Escape - A Good Cinematic Experience
A couple of years before World War II, Europe and the United States turned their back on millions Jews in Europe that tried to escape an increasing persecution.Nations closed their borders after a political meeting between several nations with Germany in the center that led nowhere.Hitler used the result of the meeting as an invitation to increase the intensity of the Jewish persecution.Some Jews were fortunate enough to escape to neighboring countries while many were escorted back to the German border and handed to the Gestapo.However, far away on the other side of the world some fortunate Jews that had the financial means to escape found a loophole - Shanghai.

Japan and China had been in war, which led to the occupation of Shanghai.The Japanese forces were not checking passports, as people arrived to Shanghai by ships.The Chinese government had been abandoned, as was the passport control. Thus, Jews could leave Germany, even though their passports had been restricted or revoked, to peacefully enter Shanghai.A pleasurable four-week voyage through the Suez Canal and the Indian Ocean led the escaping Jews to their destination, Shanghai.

Arrivals were initially shocked by the environment to which they arrived.This culture crash had its foundation in several new experiences such as the extreme humidity, high temperature, different written and spoken language, and new food among many other things.Yet, the 20,000 Jews that arrived found a way to cope in the new society.This is much thanks to the British Jews that had lived in Shanghai since the beginning of the century who had acquired much wealth.In the years before World War II and in the beginning of the war the newcomers basically founded their own miniature society within Shanghai.Coffee shops, newspapers, sports events, and much more offered an outlet where the Jews could live a life much like in Europe.

As the war increasingly intensified the Germans who were allies with Japan pressured the Japanese to create a ghetto in Shanghai for the Jews.The Japanese slowly established this ghetto, but it was very unlike the ghetto in Warsaw, Poland.Nonetheless, food became scarce while starvation and disease made life much more difficult, which even cost several people their lives.Despite the difficulties in Shanghai, the Jews never learned how lucky they were until the end of the war.When the terribly tragic news of the death camps in Europe reached them in Shanghai this moment brought them a heavy sadness, as they realized how lucky they were while reflecting on their relatives and family members' horrific fate.

Shanghai Ghetto offers an interesting cinematic journey, as a number of people offer first hand accounts of what it was like to live in the Shanghai Ghetto.One man tells how traumatic it was to experience the bombing of Shanghai at the end of the war.A woman also expresses her contempt for Germany and how she now has no surviving relatives, which is very hard to hear, as one cannot even imagine the pain she must feel.These stories that the audience experiences through film provides and reinforces an important notion - let this never happen again. ... Read more

Reviews (374)

Aliens and bees and corn fields, oh my!
"The X-Files: Fight the Future" is an endlessly fascinating and complicated movie that ties together all the mythology pieces from the popular series upon which it's based. Although I think that people who never watch the show can enjoy this movie, I doubt they can understand it very well. Heck, I watch the show religiously and I still don't think I understand everything.

However, it succeeds in introducing the audience to the characters of Agents Mulder and Scully, without rehashing the things that are familiar to the fans of the show. When we are first introduced to our favorite duo, their conversation on their cell phones is enjoyable to both old audiences and new ones alike.

The film also makes clear the deep affection and love Mulder and Scully feel for each other--something regular viewers already know--which comes to a head in the famous hallway scene outside of Mulder's apartment.

The film is top quality, as we've come to expect no less from "The X-Files," with an intelligent story-line, great action sequences and special effects, and plenty of aliens to satisfy the sci-fi junkie in all of us. But don't get me wrong--you don't have to be a sci-fi junkie to enjoy this film. You have to like a good suspense/thriller, with some action, intelligent story-telling, and yes, a little bit of hinted-at romance. I mean, for "The X-Files," any 'Shipper will tell you that this is a pretty romantic movie. As one of those so-called 'Shippers, I was very angry at that darn bee, which was my biggest disappointment.

The DVD itself is nicely presented, with all the theatrical trailers, an informative commentary track by Rob Bowman and Chris Carter, and an interesting behind-the-scenes look at the making of the film. Best of all, it has added footage not originally in the theatrical version.

This DVD is sure to please all forms of movie-goers. =)

FIGHT THE FUTURE made me a fan
I watched this movie without ever watching an episode of the series before. I came into the movie only knowing that the main characters were FBI agents Mulder and Scully who sought the truth about aliens and government conspiracies that tried to cover up their existance. That was all I knew, I didn't know anything about the black oil, or the bees, or even who the Smoking Man was. This movie did a good job presenting the basics so a first timer (like myself) wouldn't feel totally lost while watching it. David Duchovny and Gillian Anderson were superb in their big screen roles of Fox Mulder and Dana Scully. The hallway (I think you know what I'm talking about!) scene was one of the best scenes of the movie. Now if only there was no bee.... Overall, this movie was X-cellent. The acting was great, the special effects were cool, and the plot kept me on the edge of my seat. I recommend this movie to anyone who has ever watched The X-Files and loved it, and also to anyone who hasn't seen an episode before but likes sci-fi movies. And I'd just like to say thanks to Chris Carter and crew for a really good season 6 - here's onto season 7, unfortunately the very last one. I'll be looking forward to the next X-Files movie, I can't wait until it comes out!

Solid X-Files adventure
"The X-Files: Fight the Future" doesn't answer a lot of the questions that fans were waiting for from the movie. The only difference between this movie and, say, a two or three part X-Files story arc is the size of the budget, effects and the guest stars. The writing, unfortunately, doesn't measure up to the best the series offered. Nevertheless, it's a fine theatrical episode of the series.

Thousands of years ago an alien species ruled this planet. Humanity was just an afterthought. It's clear that these aliens want to regain control of the planet and members of the government have made a pact with the devil; humanity will become a slave race to these aliens (and other things you don't want to know about if you haven't seen the movie otherwise it'll spoil plot points).

Somehow all of this is tied into two little boys that discover an ancient underground cavern. One of the boys is infected with some sort of virus as are several rescue workers. In another part of the US, Mulder and Scully are checking out terrorist threat against the US. The building that Mulder and Scully and the rest of the team believe to be the target is a decoy. Mulder and Scully accidently discover the real target. The mystery at the heart of the film is why the terrorist targeted a building that had the agency FEMA in it when there were more vital government agencies they could have hit. Also, the building was evacuated. So how come there were two victims discovered in the rubble?

All of this remains at the heart of the mystery and it does, indeed, play into the alien conspiracy story arc than began to be undcovered in season one of the series. If you're interested in "The X-Files" but haven't seen the entire series, this movie is still comprehensible to the average moviegoer. The ramifications of the plot, however, will be much more important if you've seen the bulk of seasons 2-6 first (season 1 just sets up the conspiracy angle and is important but not a central part of the conspiracy arc).

The picture quality is pretty good considering this came out close to the beginning of the DVD craze. It could be improved with an anamorphic widescreen transfer (higher picture quality)and with a separate disc of extras. The extras aren't bad here they're just not as indepth as they should be. My guess is that Fox plans on re-releasing this on DVD when the new X-Files movie comes out in 2006 and/or within the next year or two because they've finally got the entire series on DVD.

Well worth picking up for fans but for casual new viewers, I'd suggest starting with seasons 2-6 to fully understand the consequences of this film's plot line. Carter's script isn't his best but there are enough gems in the script to make it worthwhile for fans of the series.

An enjoyable move to the "big screen"
The X-Files "Fight the Future" takes place after the end of season five when the X-Files have been shut down. FBI agents Fox Mulder (David Duchovny) and Dana Scully ( Gillian Anderson) are assigned to a Federal building in Dallas to locate a bomb. Unfortunately, the bomb goes off before it can be defused, and an FBI agent as well as three fireman and a boy are killed in the explosion. The FBI needs someone to blame for what happened and look to Mulder and Scully. Wanting to find out what really happened to save their careers, Mulder starts searching for clues. He soon encounters a paranoid doctor ( Martin Landau) who reveals to Mulder a conspiracy dealing with a deadly virus that could be alien in origin - and capable of destroying all life on earth. Mulder and Scully are soon forced to put their careers and lives on the line, when they are pitted against a powerful group of men known as the Syndicate, who are somehow connected with the virus and willing to kill to keep their secrets safe.

The X-Files film "Fight the Future" offers a very enjoyable transition from the television series to the big screen. I first saw the film, back when it was released in theaters. I had never seen a single episode from the show, and even though there were some things I did not understand, like who the Lone Gunmen were, the Syndicate's role in the overall conspiracy, etc., the film managed to entertain me. Now that the prices on the DVD sets for the show have been reduced, I was able to go back and finally watch the first five seasons. I recently watched the film again, and I really enjoyed it because I was finally able to understand all the smaller details that eluded me the first time around. David Duchovny and Gillian Anderson are in fine form once again as Mulder and Scully. Martin Landau was very good as well. Fans of the show will be happy with the film, because it does a very good job expanding on the overall mythology, as well as bringing in characters from the show like Assitant Director Skinner played by Mitch Pillegi, the Lone Gunmen, and the Cigarette Smoking Man played by William Davis. The special effects, action sequences, and suspense this film brings will entertain people who have never seen the show.

In my opinion, "Fight the Future" can be enjoyed by hardcore fans of the show, as well as a person who has never seen the show. I know this from experience because I was able to watch the film from both points of view. In fact, it was seeing the film the first time around that made me want to watch the show in the first place. The DVD itself offers top notch picture and sound quality, as well as commentary from Chris Carter, and an in-depth featurette on the making of the movie and the transition from the show to the big screen.

A solid 5 stars...

Good series, bad movie
On the commentary track of this movie, someone says that this movie tried to appeal to both the die hard fans of the movie and to potential new fans. Unfortunately, doing an extended 'myth arc' episode as a movie ends up short for both groups. The X Files movie came along at a time where the series's mythology was already, overly complicated and convoluted, so it was hard for newbies to follow the story without having to do extended research about the back story. Die hard fans, on the other hand, would find the story progresses too slowly, compared to the series. ... Read more

Amazon.com

The Max Sand backstory in Harold Robbins's trashy TheCarpetbaggers (an enjoyable wallow onscreen in 1964) made for a solidWestern vehicle for Steve McQueen at his peak. Nevada Smith is a revengemovie, but closer in spirit to The Bravados than a DeathWish-style exercise in nihilism. Young Max, offspring of a white father and Indianmother, sets out to avenge their slaughter by three villains. His odysseyincludes spiritual re-parenting at several stages, most notably by canny gundealer Jonas Cord (a swell character part for Brian Keith). The supporting castwill have you saying, "He's in it, too!" at regular intervals(from costars Karl Malden and Arthur Kennedy down to such incidental interlopersas L.Q. Jones and Strother Martin). Since director Henry Hathaway and cameramanLucien Ballard couldn't frame a bad shot if their lives depended on it, it's arelief that this movie is finally available in a widescreen format. --RichardT. Jameson ... Read more

Reviews (23)

A Good Actor Remembered
This movie is based on a character from Harold Robbins' THE CARPETBAGGERS, but not to worry if you don't remember Nevada Smith as no one should be criticized for not remembering anything about that book. As I remember it was not the great American novel. I kept trying to figure out why the movie was so named since McQueen who is Nevada Smith doesn't take that name until near the end of the movie.

Steve McQueen, who is cast as the son of a white man and American Indian, is by far the best thing about this movie. I know: Steve has light eyes and brown hair but none of the other characters in the movie know he is half Indian so it shouldn't bother us, I suppose.

The plot is simple. Mcqueen sets out to kill the three men who have brutally murdered his parents. In practically every frame of this movie, he does a fine job of acting. Even though McQueen was 36 when this movie was released in 1966, he looks all of 20. If you require that a character grow and change in order to make a movie good, then McQueen does that.

The movie is somewhat dated, and some of the buildings look too much like movie sets. The photography of the American West, however, is very beautiful.

It's good to remember just how good an actor Steve McQueen was. This movie is certainly worth watching.

Another McQueen Classic
Nevada Smith is up there with The Great Escape and The Magnificent Seven as Steve McQueen's best roles. In this western, McQueen plays Max Sands, a young man bent on revenge of the three men who brutally killed his parents. The three villains are played to perfection by Karl Malden, Martin Landau, and Arthur Kennedy. Really this movie is three or four separate stories brought together by Max's revenge. Beautiful scenery throughout ranging from the mountains of the Northwest to the swamps of Louisiana with a good musical score to back up the story. Brian Keith is exceptional in his role as McQueen's mentor. This is classic McQueen. The anger he feels for these three men is obvious as he chases them around the country, even working alongside them so that he can be around in case he gets a chance to exact his revenge. The DVD does not offer any extras besides the widescreen presentation, but the movie looks better than it ever did before. A truly great western with both great characters and an excellent storyline.

Don't forget the way back
If you're ever curious why people made such a fuss about Steve McQueen check out NEVADA SMITH, Henry Hathaway's sprawling tale of vengeance and obsession.
McQueen plays young half-Indian/half-white Max Sand, whose parents are murdered by a trio of bandits (Martin Landau, Arthur Kennedy, Karl Malden.) McQueen was 36 years old in 1966, the year NEVADA SMITH was made, and was probably a decade past the time when he could effortlessly portray a naïve young hero. There's a brief, disturbingly violent scene at the beginning of the movie where the three villains are torturing Smith's parents, and the woman portraying McQueen's Kiowa mother doesn't look much older than 35. Still, McQueen brings a wide-eyed innocence to his performance that tremendously helps us suspend disbelief. Besides, I believe I counted exactly zero close-ups in this action western. If you want to check out the crow's feet around McQueen's eyes you'll have to look hard and fast to see them.
McQueen gets a chance to play against some Hollywood professionals at the top of their games. Brian Keith is growlingly good as traveling gunsmith Jonas Cord, who plays Polonius to McQueen's Laertes, and plies the young stranger with instruction and advice. Max Sand won't be argued out of his mission to avenge the death of his parents, and the pragmatic Cord reluctantly agrees to be his mentor. It's through Cord and, later, a priest Sand comes across, that the movie is allowed to question its central theme - vengeance. Cord argues the practical ("You'll turn into one of the rats you're hunting,") the priest the spiritual. It's a tribute to the brilliance of McQueen's performance that by the time we reach the last scene we can see how both arguments have contributed to his maturation. Karl Malden plays the evil, racist Tom Fitch with sadist gusto. Malden overacts a bit in one of those rare roles that benefits when an actor takes it over the top. Watching the suspicious Fitch interrogate the no-longer-naïve Max Sand is one of the highlights of the movie.
The underrated Hathaway shot most of NEVADA SMITH on location, and the realistic look is used to great advantage. He doesn't go for the landmark shots a la John Ford in Monument Valley, choosing instead to play scenes in anonymous swamps and deserts. The realism shoots through all the way to stunts and props and costumes. Instead of elaborately choreographed fist fights with exaggerated sound effects every time a blow is struck, the characters in NEVADA SMITH scratch and claw, bite and kick when they fight. The clothes they wear are torn and dirty and they stay dirty.
NEVADA SMITH has enough going for it to appeal to those who aren't typically fans of westerns. If you are a fan this is a must-see.

Long, a bit slow, but worth it
Steve McQueen starts out as a naive half-breed boy seeking out
the three men who murdered and multilated his parents. At first he can't even shoot a pistol, a flaw remedied by Brian Keith in a wonderful role. From there it's uphill, or downhill, depending on your point of view. McQueen's character, Max Sand, loses his innnocence and becomes a hard man, a killer. This allows him to hunt down the men, but at a cost of part of his soul. Unfortunately, I never found any of the villains to be particularly villainous, which is made up by the other characters, including the late Iron Eyes Cody as an Indian chief. Good movie, made when MrQueen was at the top of his form.

A Harold Robbins story, from the Carpetbaggers

Studio: Paramount Studio
Video Release Date: May 10, 1990

Cast:

Steve McQueen ... Nevada Smith/Max Sand/Fitch
Karl Malden ... Tom Fitch
Brian Keith ... Jonas Cord
Arthur Kennedy ... Bill Bowdre
Suzanne Pleshette ... Pilar, Cajun Girl
Raf Vallone ... Father Zaccardi
Janet Margolin ... Neesa
Pat Hingle ... Big Foot, Work Camp Trustee
Howard Da Silva ... Warden of Work Camp
Martin Landau ... Jesse Coe
Paul Fix ... Sheriff Bonnell
Gene Evans ... Sam Sand

Josephine Hutchinson ... Mrs. Elvira McCandles
John Doucette ... Uncle Ben McCandles
Val Avery ... Buck Mason, Bartender
Sheldon Allman ... Sheriff
Lyle Bettger ... Jack Rudabough
Bert Freed ... Quince
David McLean ... Romero
Steve Mitchell ... Buckshot
Merritt Bohn ... River Boat Pilot
Sandy Kenyon ... Clerk in Bank
Ric Roman ... Cipriano
John Lawrence ... Hogg
Stanley Adams ... Storekeeper
George Mitchell ... Paymaster
John Litel ... Doctor
Ted de Corsia ... Hudson (Bartender)
L.Q. Jones ... Cowboy
Strother Martin ... Strother
Jeffrey Sayre ... Roulette Dealer
Henry Wills ... Fitch man
Iron Eyes Cody ... Taka-Ta
Joanna Cook Moore ... Angie, Saloon Girl

From a story by Harold Robbins, who wrote the Carpetbaggers, among other stories, in his rich career.

The story is about a young half-breed Indian (Steve McQueen)whose mother and father were killed by three thugs. He learns the ropes, and how to use weapons, from a gun dealer (Brian Keith) and sets out on a quest to kill the three men responsible. This is the story of his hunt.

The parts were all well-acted, and the story held together well, although it did not follow The Carpetbaggers, it did do parts of it justice.

I recommend this film. Thankfully, it left out some of the odious details of how the boy's mother and father were killed.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

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Reviews (45)

An acutate depiction.
"Joseph" is one of the best movies in "The Bible Collection." It also gives an acurate detail of the story in the Bible.

It shows how God works through the slave/Egyptian govornor who loved and obeyed him.

keep your butchered movie
Not one minute of this film should be edited, yet the run time on this DVD edition suggests it has been cut for time.They need a warning in large type that this is NOT going to be the same film we loved.This is dishonest.

Run Time Error?
This is an incredible mini-series...but it might not be so great if the run time stated (145 minutes) is accurate for the DVD release.The length of this production (at least on the VHS version) was 185 minutes.I plan to verify that this was not severely edited before I purchase it.There is some hope insofar as Warners Home Video has a history of understating (or miscalculating)run times...The miniseries "North And South" had a run time misprint that amounted to 183 minutes--over 3 hours!!The material was not missing or edited...just the info on the box was in error.Hopefully, that's what's happened here.

What Christians are suppose to be
Joseph is the ideal role model for EVERY Christian/Jew. He is an example of what we should streve for. Waiting for a spouse to have sex. Sticking to your God no matter the outcome. This movie reflects all of that perfectly. The actors did a great job. When I first saw this years ago I was blown away by the quality!! That was back in the VHS days...cant wait to see it on DVD. So I cant speak for the transfer quality yet, sorry.

The Best of the Bible Collection FINALLY on DVD
Although I have enjoyed most of the movies in the Bible Collection Joseph has been my all time favorite.It is biblically accurate, events that are not recounted in the Bible are kept beleivalbe for the time period.The guy who plays Joseph does a wonderful job.In fact it was this movie that ruined the movie Moses, Ben Kingsley does a wonderful job as Potiphar in Joseph, but is just to old and not right for the part of Moses.

I am so glad that this movie will finally be out on DVD.They have been available overseas for a long time in DVD format.I am glad they are begining to release these on DVD, hopefully David will come out soon. ... Read more