Reviews (709)

A Fight For Freedom
Mel Gibson's Oscar winning epic, BRAVEHEART, is a great film. Set in the 13th century Gibson stars as William Wallace, a Scottsman, who returns to his homeland, after a long abscence. Upon his return, he learns that the Scott King has died, leaving no heir to the throne. The country is now being ruled by King Edward, (Patrick McGoohan) a ruthless leader, who cares nothing about the land or its people. William takes charge and vows to fight for the liberation of Scotland. BRAVEHEART is quite a film. From its breathtaking landscapes, shot by John Toll, to its intense battle sequences, the film will keep you "involved" throughout its entire 177 minutes. The script, by Randall Wallace, has its moments of over the top bravado. But it also has some good points as well. Gibson does a great job pulling double duty here, as director and star. Given the film's size and scope, this was not an easy movie to make, doing one job is hard enough...A stunning movie.

The DVD has two main extras on it. The commentary by Mr. Gibson is pretty good. However, my only gripe may be that the length of the film means some gaps of silence and a few moments where he repeats himself. The production feature is nicely produced by HBO but nothing more The only other extra on the disc is the inclusion of 2 theatrical trailers. I would have expected some more extras on the DVD, since its a multiple award winner...Even with my minor complaints, BRAVEHEART, still gets 5 stars from me, and comes highly recommended

A DVD Must-Have for any home video collection!
As a film, this is truly an awe-inspiring masterpiece that joins the ranks of great classics like "Lawrence of Arabia". Paramount did an excellent job in bringing this movie to DVD. The picture is clear and pristine due to the anamorphic enhancement & widescreen formatting which is required to convey the beauty of the film's various expansive wide landscape shots of the Scottish valleys. Audio soundtrack is richly detailed and expansive in its use of surround effects which adds the effect of "being there" especially during the brutal battle scenes. James Horner's music score comes through just beautifully. One aspect of this dvd I really enjoyed is the audio commentary track by the director himself Mel Gibson. He was very cordial, humorous, and at times very informative about the whole affair of making this movie. Just listening to Mel Gibson talk while viewing this movie made it feel as if you were watching it with a down-to-earth friend. You'll get a kick out of it. Trust me! There is one thing though: I just wish Paramount had included the TV clips from the Academy Awards show of Mel Gibson receiving the Oscars and his acceptance speech. The entire crew & Mel Gibson himself so richly deserved the Oscars the film won and including those Oscar clips in this DVD's supplements would have been icing on the cake. This DVD is a no-brainer, you can't get any better than this.

A COMPLETE cinematic experience. Totally satisfying
I saw this movie years ago when it first came out. Most movies aren't as good on second viewing. I just saw it again on DVD and it is BETTER than I remember it.

The acting is superb, especially by the young William Wallace at the opening of the film. Infact all the actors are excellent in this film.

What really takes my breath away in this film is the stunning (pre-computer generated)scenery, music, costumes, the sets and the magnificent battle scenes which really makes Bravehart a complete cinematic experience.

The DVD comes with an entertaining documentary on the making of the film with an excellent full length commentary by director/actor Mel Gibson. A must in any DVD collection. Highly recommended.

Ultra violence meets (...) humour
Mel Gibson must be a very disturbed man. All his films are very violent. "Payback", "The Patriot" and "The Passion of Christ"(which at least I found to be pretty funny though I don't think it was meant to be) all glorify violence.

Catherine McCormack takes off her clothes in this film which is why I give it 1 star and not 0. Unfortunately Sophie Marceau doesn't take off her clothes and even more unfortunate is that Mel does. I found the mooning scene in this movie to be quite childish

This movie is intended for the less intelligent American market rather than for us Scots. All of Mel Gibsons recent films are marketed towards less intelligent people such as George W Bush or the Pope or Mel himself I suppose.

Mel Gibson hasn't made a decent film since "Mad Max 2" yet he continues to make millions of dollars making these awful films.

I guess...
YOU CAN TAKE MY TALENT BUT YOU CAN'T TAKE MY MILLIONS!!!!

The best of the best.
I have made many top 10 movie lists, and they have changed over the years. There is one movie, however, that has never been moved and that movie is Braveheart in the number 1 spot. Many shy from the movie because of it being 3 hours long without even giving it a chance.I think everyone should watch it. You never think the movie is as long as it is when you actually watch it. The battle sequences were the best I have ever seen up until the release of Return of the King, but the battles are still the best in their own light. Every characater is played well, Mel Gibson playing especially well as the lead character William Wallace and his directing is flawless as well. I loved every minute of it and it will most likely always be my favorite movie of all time. ... Read more

Amazon.com

A broad science fiction thriller in a classic vein, Equilibrium takes a respectable stab at a Fahrenheit 451-like cautionary fable. The story finds Earth's post-World War III humankind in a state of severe emotional repression: If no one feels anything, no one will be inspired by dark passions to attack their neighbors. Writer-director Kurt Wimmer's monochromatic, Metropolis-influenced cityscape provides an excellent backdrop to the heavy-handed mission of John Preston (Christian Bale), a top cop who busts "sense offenders" and crushes sentimental, sensual, and artistic relics from a bygone era. Predictably, Preston becomes intrigued by his victims and that which they die to cherish; he stops taking his mandatory, mood-flattening drug and is even aroused by a doomed prisoner (Emily Watson). Wimmer's wrongheaded martial arts/dueling guns motif is sheer silliness (a battle over a puppy doesn't help), but Equilibrium should be seen for Bale's moving performance as a man shocked back to human feeling. --Tom Keogh ... Read more

Reviews (326)

You Should Not Miss These Sensational Action Scenes
Sci-fi flick with stunning visuals, "Equilibrium" deserves much more attention not only from fans of genre, but also from general audiences. Sure, its flaws are too visible, borrowing Orwellian ideas from other films like, say, "Brazil," but it is not that ideas themselves but the way they are put into practice that really counts, and on that score "Equiliburium" is a winner. (And critics, please let me know, why do you all praise Steven's "Minority Report" which actually borrows ideas from other films of this genre? So, why not give this one a due respect?)

Well, I admit the opening chapter of "Equilibrium" is a bit weak, introducing us to the dystopia world after the WW3, but soon you will forget that. The totalitarian government established after the war decided to eliminate anything that might possibly make humans emotional, forcing the people to inject a certain doze of [chemical substance] to be unemotional every day. Moreover, it decrees there should be no more music (not only hip-hops, but classic music), no more motion pitures, and no more decorated interiors. Those who love them hide underground, becoming rebels while the authroity set up a super-cop troop called "Grammaton Clerics."

Christian Bale ("American Psyco") is John Preston the best of the Clerics, and dedicates himself to the job until he arrests a woman Mary O'Brien who possessd illegal stuffs. But her strong creed and perhaps beauty make their way into the sleeping heart of Preston, who has been long fighting for his cause.

The film's philosophical messages are in themselves not new at all, and director Kurt Wimmer might have kept his idea a little too long. I say so, because today, in the 21st century, it is not this Orwellian society that we are afraid of most. The story has enough twists to surprise us, but maybe one too many, I think, and the wrap-up part of the film feels a bit hurriedly done.

However, those are noting before the film's sensational action scenes, which can make up for any flawed part of the film. The "Gun-Kata" fighting deserves special mention, using [weapons] like Japanese swords, and its hyper-kinetic movement is very violent and very beautiful at the same time. Incredible it might sound, but Christian Bale shows excellent action star quality here, displaying the beauty of "Kata"s -- and "kata" means in Japanese "style." Yes, there are lots of styles in "Equilibrium."

Other plsyers are also effectively cast, and most unexpected is Emily Watson, who quite naturally becomes the Joan D'Arc-like character. Taye Diggs is good as Preston's partner, and though short time, Sean Bean, cast against type, is also perfect as Partridge who plays a key role in the story.

I was quite surprised and satisfied, and even thrilled to see this neglected film, which should have been more pushed. Again I say, its actions are sensational. Not that this is "Matrix"; rather, it is more unique and has its own "kata" = style, which means a lot these days.

Compulsively watchable
Confession time. I never saw the Matrix. I am not a big fan of the genre. I was merely intrigued that several fine actors such as Emily Watson, Christian Bale and Sean Bean were in a movie that was getting literally no promotion. So without really knowing what to expect, I took a chance with $... bucks and two hours of my life.

I haven't had so much purely unexpected fun at a movie since a serious film buff friend dragged me to see a dubbed copy of one of John Woo's early Hong Kong gangster epics starring the ever charismatic Chow Yun-Fat.

Like those movies, Equilibrium took me on one heck of a visual and emotional roller coaster ride.

Was the plot derivative and full of holes? Yes, but I did not care, for my eyes were glued to the screen. Kinetic direction and a set of charismatic actors caused Equilibrium to soar above its well worn plot lines.

Movies like this are for entertainment not great enlightenment. I hope it finds an audience on DVD or as a feature movie on the Sci Fi channel. It deserves far better marketing than the studio gave it.

KILLER ACTION WITH A BIG HEART
To Kurt Wimmer: Thank you for introducing me to the genuinely new experience of not wanting to leave the theatre! I saw this movie 6 times (a personal first), and each time I was amazed at how I could just sit through it again!
Whenever I tell people about it, they jump in with a comparison to The Matrix, but the truth is, while both films are incredibly exciting to watch, Equilibrium makes you care about the characters in ways the other never did. We never knew why the good guys in The Matrix were drawn to fighting for their freedom, it was never explored. In Equilibrium, Wimmer DOES explore this, and Christian Bale and Emily Watson give fantastic performances that will bring tears to your eyes.
I also found Equilibrium interesting because of the commentary it makes on issues that are here today---the militarization of the police, police raids, victimless crimes, etc. (WACO would have been a lot different with a John Preston around, eh?)
The bottom line is this movie NEVER STRAYS---it's exciting, great gun-kata scenes, thought-provoking subject matter, and all of it balanced with the more human elements that keep us caring.

It's strange, but for the only time in my life I felt like I was going to miss a movie after it stopped playing. I don't think there's a greater compliment than that....

WOW
WOW..and WOW.. and WOW and WOW and WOW!

How have I never heard of this movie before?!?!?
To read the reviews here, I thought I was in for another mindless action movie (always welcome of course) but I was treated to something very much more special.

This is a thought searing movie, to say the least. Have you read 1984? Or seen Blade Runner? Or Apple Computer's "1984" ad? This is there. This is great. This is art. It really is.

The movie itself was very well thought out and detailed.. down to the shape of the "drug" pills they took. Scenes like the re-organizing of his desk, with the background dialog perfectly syncronising the scene, give testament to the thought and detail put into the movie. It also makes me sad at the shlock that Hollywood turns out these days. Kudos to the director, writer and actors.

I didnt expect much going into this, and I was really really surprised. To read amazons comment : "Based on customer purchases, this is the #39 early adopter product in cult movies", after seeing this movie, that comment makes me shiver - im not sure why. Forshadowing our future?

In anycase, Im going to see the Cruxshadows so cant write more, but take my advice, if you're a thinking person, rent this movie. Its worth the time/money.

P.S.
Im glad to see the guy from Lord of the Rings/Ronin play a noble part for once!

UNBELIEVABLE action sequences!
Of course it's not the Matrix. Equilibrium actually begins and ends with an excellent storyline and tight plot!

I wonder why I've never picked this DVD up before - it honestly boasts of some of the best, if not the best, choreography and fastest action sequences I've ever seen! Few movies can live up to this kind of lightning-quick action. Yes, if you loved the Matrix, you will DEFINITELY love this one. However, this is actually a 1000 times more satisfying than the Matrix, considering Reloaded. Wish I discovered this earlier! You won't regret this. ... Read more

Reviews (220)

A Beautiful and Haunting Debut
Julie Taymor, of Broadway's "Lion King" fame, creates a dazzling surreal anachronistic fantasy world with her feature film directorial debut. "Titus" (lately, "Titus Andronicus,") though thought to be Shakespeare's worst play, is a beautiful symphony of distruction, murder, deception, seduction, rape, and cannibalism...at least it becomes so under Taymor's careful direction. The choreographed opening scene of marching soldiers weary from battle in the middle of the collesium sets the tone for a very unlikely brilliant piece of film. Alongside armored soldiers on horseback, people ride down the street in automobiles of various periods. A jazz band accompanies the new young emperor's wedding night orgy. And two young Gothic barbarians in furs trade in their furs for leather and video games. This movie is beautiful, intelligent, and above all unexpected. You can't help but like Aaron the Moor, who prides himself on his villany. Even the queens young sons you can't help but find fascinating, despite their rape of Titus' young daughter Lavinia.

Anthony Hopkins, as always, is brilliant in the title role of Titus. A man dedicated to his country and his emperor and upholds duty above all else...even willing to risk his daughter's unhappiness by consenting to her marriage to the young corrupt emperor Saturninus. Saturninus however eventually marries Titus' captive Gothic queen, played with true sinister brutality by the unrepentantly sexy Jessica Lange. One of her sons you might even recognize from the movie "Velvet Goldmine." Saturninus is played by the always talented and sexually enigmatic Alan Cumming who seems to take great pleasure in imitating more politicians than you could shake a stick at. But hands down the show is stolen by Henry Lennix, playing the evil Aaron, the queens trusted friend and consort. Aaron never apologized for all the pain he has inflicted or his evil ways...he revels in them.

The ending is not unexpected considering most Shakespearian tragedies...but I won't ruin the finer points. Suffice it to say, my personal favorite scene involves the queens two sons, Lavinia, and some twigs put to some very interesting use...this scene sticks with you long after the movie has ended...as beautiful and haunting as it is horrifying.

Titus (2000) d: Taymor, Julie
Titus Andronicus is arguably the most complicated play ever penned by the great William Shakespeare. It is also one of the darkest and most violent plays, filled with shocking scenes, and obscene human behavior. Using the original old English, this movie mixes things up a little using outrageous situations, and brilliant visual touches of ancient Rome, fascist Italy, and a coke-a-cola post everything media assault. The new emperor played by Alan Eyes Wide Shut (1999) Cumming marries a vengeful queen (played by a sometimes topless Jessica Lange) who has two vicious punk rock sons who torment Roman warrior Titus (played by Anthony Hopkins). In scenes comparable to Silence of the Lambs (1991), Titus seems to lose his mind after his two sons are decapitated and his daughter is raped, she has her tongue cut out and her hands chopped off. Revenge soon follows in a cannibalistic dinner served to the guilty, 'a la Theatre of Blood (1973) with Vincent Price. The DVD contains many extras. A excellent film with something to offer both young and old alike. Not only is it hard to believe the depths the movie delves into, but even more incredible is that this epic picture by Julie (Lion King) Taymor is a directorial debut. Impressive first try..., we can't wait to see another.

I Gave it 4 Viewings
Ms Taymor, let me say at the outset, is a highly creative director. Loved the Broadway show (The Lion King). She's innovative, imaginative, extremely adept at visual imagery, etc. What she isn't is adept at interpreting The Bard. The DVD version had her meeting with a group of NYU students discussing the production and the play, in which she showed exactly how shallow her understanding of Shakespeare actually is. Her focus was entirely on her vision, rather than his text. That shows up, rampantly in the movie. It's all about her and her imagination, never centering on the text or the innner beauty of Shakespeare's most brutal play.

I'm not saying that all the bard's plays have to focus on the grand design of the poetry, the meter, the frangrant, redolent language, but at least lip service should be paid there. In this version, we get stuffed with so many Taymor pipe dream (and I do mean a loaded hookah!) visuals, that the language is submarined into oblivion. Even so consummate an actor as Anthony Hopkins (why isn't he Sir Anthony, by now? ..get off your keister, Queenie!) can't compete with the hyperactive Ms Taymor and her busycam. She's obviously aiming for the Art House crowd (of which I am a sometime member, but not in good standing here, obviously), but she misses even that mark. Most of the "innovative" interpolations, such as the young kid who provides the framing device, are entirely superfluous, thereby losing any actually artistic force they might have achieved. It's nothing but empty window dressing.

The performances are largely execrable, including Sir Tony, I hate to report. His version of the Brando mumble is ill suited to the title role. Jessica Lange gives a nadir plumbing performance in a career that features a few of them. She was a lot more convincing in King Kong, trust me. The rest of the Mad Max rejects were even worse.

The reason I gave this film four viewings before sending the DVD on to a friend, was I thought perhaps it was just me, and I was being too reactionary or cynical about this brave new look at what is actually, in a way, one of my favorite Shakespeare plays. Then, midway through viewing #5, I thought, "nah....this thing really is as bad as originally perceived."

Last I heard, "The Lion King" was still playing on Broadway. My suggestion is, buy tickets to that, next time you are in NYC. As for this Turkey, my advice is to rent it if you must. Otherwise, don't put yourself through the torture I did.

BEK

Brilliantly stylized; unique
Every once in a while, a movie comes along which you feel was made just for you. I can understand why a lot of people might not like this film, but for certain people I think it might be just what they were looking for.

Taymor's production, instead of trying to somehow mitigate the remorseless violence and moral vacuum which characterized the much-maligned play, intentionally plays it up. The garishness of the plot is complimented by the garishness of the anachronistic costumes, the elaborate staging and the delerious, overdramatic acting. It gets right to the heart of what a revenge drama is, and what value can be found in Andronicus just as a pure visceral experience. A lot of great performances, and the images are brilliant. My only complaint is, given the pacing of a modern film, it's difficult to hear and understand all of the dialogue sometimes, since none of it was 'updated' from the original Shakespearean. Given the stylized nature of everything else, maybe some of the dialogue should have been simplified.

Writing this now, comparisons to Kill Bill are inevitable, and, while it can't quite claim to reach that pedestal, and lacks the ultimatley morally redeeming value of the complete KB, I recommend it to fans of the KB pt. 1 as a similiar experience.

Taymor adapts vengeance and its consequences...
Titus is based on Shakespeare's Titus Andronicus, which is an extremely bloody and terrifying tale of vengeance and its consequences. The cinematic adaptation that Julie Taymor wrote is set in a Roman Empire-like environment with crossings of ancient and modern as the mise-en-scene displays cars as well as tanks with soldiers in ancient armor. This creates a link between then and now, which could suggest that the displayed horror is timeless and possible even today. Taymor creates exaggerations in this cinematic environment with brilliant cinematography, grand directing, and mise-en-scene that amplify the abstract atmosphere as it elevates the unnatural doings of Titus Andronicus (Anthony Hopkins), Tamora (Jessica Lange), and Saturninus (Alan Cumming) among others. The Shakespearian violence that Taymor presents serves as the means to an end as the story plunges into a dark realm that most do not wish to visit, but must contemplate as it could have devastating effects on all.

The film opens with a scene where a young Lucius is sitting at the kitchen table, with a brown paper bag over his head, eating dinner while sadistically tearing the heads of his warrior dolls while violently smashing the items on the table and pouring ketchup over the "killed" dolls. This is followed by an explosion where Lucius dives bawling to the floor for protection. Lucius is a clear resemblance of his father Titus in the opening shot. The rest of the film is a carnival of hideous acts and morbid behavior that alll falls around Titus with a domino effect trigged by one wrong decision. Despite the distressing elements of Titus, the film offers a brilliant cinematic experience that devours the audience as it supplies several subplots and themes, which the audience should ponder under the light of human compassion and the word "consequences". ... Read more

Description

New York playwright Sidda Lee Walker is a long way from her Louisiana hometown, but an even greater emotional distance separates her from her mother Vivi. The Ya-Yas - sworn lifelong friends of Vivi - stage an unorthodox "intervention" to bring daughter and mother together in this warm, winning adaptation of Rebecca Well's bestsellers, written for the screen and directed by Thelma & Louise Academy Award winner Callie Khouri. ... Read more

Reviews (161)

Pure Chick Flick but good!
It's simple, in one line; it's a pure chick movie. I slept through it despite Sandra Bullock is the lead! I had to drink a strong espresso to watch it again. The movie is based on the Rebecca Wells's bestseller and as it is most of the time, the movie doesn't do justice to the book. Ladies will love the movie as they did the book. It's a warm well told story, it has tremendous feel and is well acted and well written. This all-star cast left little doubt that this was going to be a good movie. It was a matter of how well first time director Callie Khouri would be able to blend this ensemble of great actors. Usually one would out shine the other, but balance was gotten and result was fantastic; if you love this kind or drama. Drama, did I write, I'm not sure about that. Some might say a romantic comedy! Sandra plays a successful playwright still having to deal with an over powering and manipulative mother. Her mother's Ya-Ya friends (the sisterhood), drug and kidnap her in an attempt to reunited daughter with mother. If any of us did that we would be facing jail time! Guys, if you need a night to make good for a bad week, rent it and show your soft, sensitive side. Just remember to drink a strong espresso; then again you might want to make that a double!

Surprisingly not too bad
Summary:
Siddalee 'Sidda' Walker (Sandra Bullock) is a successful playwright in New York whose mother, Viviane 'Vivi' Abbott Walker (Ellen Burstyn - older; Ashley Judd - younger), has left some very deep, emotional scars on her. When Sidda happens to reveal some of these emotional scars to a Time magazine correspondent who later publishes them, Vivi is deeply offended and cuts off contact with her daughter. It then becomes the responsiblity of Vivi's group of friends, the Ya-Ya Sisterhood (Shirley Knight, Maggie Smith, Fionnula Flanagan), to intervene and bring Sidda and Vivi back together before Sidda's wedding to Connor McGill (Angus MacFadyen).

In order to bring the two back together, the Ya-Yas (as they call themselves) go to New York, kidnap Sidda, and bring her back to Louisiana. They then keep her quasi locked up while she is forced to experience the history of the Ya-Ya Sisterhood through their record book. Along with the pictures in the book, the Ya-Yas tell her stories, leading up to the climactic story of when Vivi had a nervous breakdown, nearly killed her kids, including Sidda and her siblings, and ultimately ended up in a mental hospital. Apparently Siddha was unaware of a lot of what was going on and, as a result, has held deep seated resentments toward her mother for a long time.

Eventually Siddha and Vivi are able to come to grips with what has happened. Siddha realizes that her mother wasn't perfect and Vivi admits to not being perfect. Having found some resolution to the emotional turmoil that has upset them for so long they are finally able to let the past go and love each other once again.

My Comments:
I went into this movie thinking that it was going to be a 'chick-flick' that I wasn't going to like. I came out regretting my initial sentiments.

The story itself is really pretty simple. The hardest part, perhaps, is just making sure that all of the flashbacks fit into the present. There are a few places where things don't make a lot of sense and some additional information would have been useful, like, for instance, more information on Vivi's family - Why her mother hated her and why her father loved her so much? It also would have been nice to have more information on why Vivi ended up marrying Shepherd 'Shep' Walker (James Garner - older; David Lee Smith - younger). Without really understanding the backstory to Vivi it is a bit hard to understand why she had the nervous breakdown, but I don't know that you can ever fully explain why someone had one - you can just start to come to grips with the fact that it happened and the ramifications of it. So, despite not having all of the information I would have liked to Vivi's backstory, the story was pretty good. The only other thing I think I should mention is that it would also have been nice to see how this blow-up between Siddha and Vivi affected Siddha's siblings. Even though she was the oldest, they were all probably old enough to remember at least some of the things that happened (this may be addressed in the book).

As for the acting, I was very impressed. I've never really thought Sandra Bullock was a great actress. So, when I saw that she was the main character in this film, or at least, was supposed to be, I was a bit worried. Well, she was okay, but she really isn't the actress to watch. Ashley Judd is the one who really has to push the limits of her acting ability and she does a great job. I think Ashley Judd has a lot of talent and was a very convincing younger Vivi, including the time during the emotional breakdown. The older Ya-Yas were also very good. Whenever they were on screen they pretty much stole the show from everyone else which, again, I can't say I minded because I'm not a huge fan of Sandra Bullock. The one person who I wish would have had more screen time but did great with what he had was James Garner, who truly did a great job of playing the role of a saintly husband who put up with a lot.

Overall, I surprised myself by finding ways to relate with this film. I would suspect that pretty much every child holds some resentments towards their parents. I know this is a bit Freudian, but those feelings can later emerge as relevant to people's attitudes towards their parents and life in general. I think this movie (which is based on a book) does a great job of dealing with those issues and illustrating how devastating they really can be. I highly doubt that any parent can prevent their kids from having issues with them, but this does give a good example of how those issues can be addressed at a later point, when both are adults and able to better understand how one's actions affected the other. Maybe I'm reading too much into the movie and all of this psycho-babble Freudian analysis isn't really there, but I think it is. Anyway, it is a movie that tugs on the heart strings, but I think most people can relate to the reasons why. Because of that I would recommend this movie for pretty much anyone that has a mother, which means everyone (whether you know who she is/was or not).

Mother daughter reunion.....................................
I LOVED THIS MOVIE!

The Divine Secrets of the Ya-Ya Sisterhood tells the story of how the Ya-Yas, try to fix the gap between mother and daughter, daughter and fiancee, and in doing so, lead to a greater, deeper level of understanding between all of them as well.

I highly recommend this movie for all mothers, daughters, sisters, and friends.

It's not just about that but its so much more having real friends who would go against you in order to help you! This is such a great movie.

Good, surprisingly touching.
'The Divine Secrets of the Ya-Ya Sisterhood', the novel, is a good, NOT GREAT, example of modern fiction. It is warm, touching, funny, involving and well-conceived, but conversely, it is prissy, cloying and overly sentimental at times.

'The Divine Secrets of the Ya-Ya Sisterhood', the movie, shares all of these traits with its best-selling inspiration. It too is warm, touching, funny, and involving, but, like the book, has more than its fair share of incongrous emotions and oftentimes silly plot twists that prevent it from being a True Classic.

Starring Sandra Bullock and Ellen Burstyn (in a wonderful return-to-form, one of the best things in this picture) as Siddalee and Vivianne Walker, 'The Divine Secrets of the Ya-Ya Sisterhood' tells the story of how the Ya-Yas, Vivi's lifelong friends, heal rifts between mother and daughter, daughter and fiancee, and in doing so, lead to a greater, deeper level of understanding between all parties involved.

The movie has many, many good points. The contrast between Sidda's hectic, neurotic city-girl chic and the Ya-Ya's slower-paced, yet nonetheless as complex, lifestyles, is nicely executed, and Bullock once again proves herself to be a decent actress who, while she may not yet have found her niche, is well on her way to becoming a true talent. Burstyn is glorious as the mentally challenging Vivi, and her pals, Ya-Ya'd to near-perfection by Fionnula Flanagan, Shirley Knight and Maggie Smith, all gel well as an ensemble, even if their individual performances lack the individualism of the novel's counterparts.

The surprise of the picture is Ashley Judd as the young Vivi, she displays here an excellent understanding of the character and her portrayal of manic depression and alcoholism is as real as it is affecting.

Sadly, the bad points of the movie come in the shape of some VERY unnessecary plot-tinkering (lovers of the book will know what I mean!) and the Oirish Occent so reprehensibly attempted by the mundane Angus McFayden as Conor McGill - I'm talking ear-bleedingly bad. Are there no Irish actors in Hollywood? Would it have been so terrible, in the wake of all the other movie changes, to make the character of Conor American? Grrr.

Similarly out-of-place is the portrayal of Buggy Walker, Vivi's mother, a religious nut who doesn't come across as zealous at all, thereby robbing Vivi of much of her raison d'etre.

This is a chick-flick, undemanding and sweet, and in places, excellent, but it's a shame that it could have been so much more, and is not.

Recommended for rental.

Better than I expected
To tell you the truth I wasn't all that excited to see the film, just excited to have a girl's night out. I was pleasantly surprized. Sandra Bullock was wearing makeup in a movie for a change and did a better acting job than usual. Ashley Judd, who I didnt' even realize was in the film, gave an Oscar-worthy performance (though I doubt she'll be recognized for it). I've always thought she was beautiful but never considered her a fantastic actress until now. Magie Smith is wonderful, as usual and all of the other old ladies are do a fantastic job. It was nice to have a movie about women that doesn't focus entirely on the joys of youth, maturity has it's advantages. The man who plays Bullock's fiancee made me swoon, so handsome, charming and that great Irish accent. The southern accents in the movie are fun and the southern landscapes are breathtaking. Definitely a chick flick and good for men who want to understand more of the complexities of women. Be prepared to cry and to think a lot about your relationship with your mother. I actually managed to get my husband to sit thru this one when it came out on DVD, which is a real feat.
3 1/2 stars. ... Read more

Description

New York playwright Sidda Lee Walker is a long way from her Louisiana hometown, but an even greater emotional distance separates her from her mother Vivi. The Ya-Yas - sworn lifelong friends of Vivi - stage an unorthodox "intervention" to bring daughter and mother together in this warm, winning adaptation of Rebecca Well's bestsellers, written for the screen and directed by Thelma & Louise Academy Award winner Callie Khouri. ... Read more

Reviews (161)

Pure Chick Flick but good!
It's simple, in one line; it's a pure chick movie. I slept through it despite Sandra Bullock is the lead! I had to drink a strong espresso to watch it again. The movie is based on the Rebecca Wells's bestseller and as it is most of the time, the movie doesn't do justice to the book. Ladies will love the movie as they did the book. It's a warm well told story, it has tremendous feel and is well acted and well written. This all-star cast left little doubt that this was going to be a good movie. It was a matter of how well first time director Callie Khouri would be able to blend this ensemble of great actors. Usually one would out shine the other, but balance was gotten and result was fantastic; if you love this kind or drama. Drama, did I write, I'm not sure about that. Some might say a romantic comedy! Sandra plays a successful playwright still having to deal with an over powering and manipulative mother. Her mother's Ya-Ya friends (the sisterhood), drug and kidnap her in an attempt to reunited daughter with mother. If any of us did that we would be facing jail time! Guys, if you need a night to make good for a bad week, rent it and show your soft, sensitive side. Just remember to drink a strong espresso; then again you might want to make that a double!

Surprisingly not too bad
Summary:
Siddalee 'Sidda' Walker (Sandra Bullock) is a successful playwright in New York whose mother, Viviane 'Vivi' Abbott Walker (Ellen Burstyn - older; Ashley Judd - younger), has left some very deep, emotional scars on her. When Sidda happens to reveal some of these emotional scars to a Time magazine correspondent who later publishes them, Vivi is deeply offended and cuts off contact with her daughter. It then becomes the responsiblity of Vivi's group of friends, the Ya-Ya Sisterhood (Shirley Knight, Maggie Smith, Fionnula Flanagan), to intervene and bring Sidda and Vivi back together before Sidda's wedding to Connor McGill (Angus MacFadyen).

In order to bring the two back together, the Ya-Yas (as they call themselves) go to New York, kidnap Sidda, and bring her back to Louisiana. They then keep her quasi locked up while she is forced to experience the history of the Ya-Ya Sisterhood through their record book. Along with the pictures in the book, the Ya-Yas tell her stories, leading up to the climactic story of when Vivi had a nervous breakdown, nearly killed her kids, including Sidda and her siblings, and ultimately ended up in a mental hospital. Apparently Siddha was unaware of a lot of what was going on and, as a result, has held deep seated resentments toward her mother for a long time.

Eventually Siddha and Vivi are able to come to grips with what has happened. Siddha realizes that her mother wasn't perfect and Vivi admits to not being perfect. Having found some resolution to the emotional turmoil that has upset them for so long they are finally able to let the past go and love each other once again.

My Comments:
I went into this movie thinking that it was going to be a 'chick-flick' that I wasn't going to like. I came out regretting my initial sentiments.

The story itself is really pretty simple. The hardest part, perhaps, is just making sure that all of the flashbacks fit into the present. There are a few places where things don't make a lot of sense and some additional information would have been useful, like, for instance, more information on Vivi's family - Why her mother hated her and why her father loved her so much? It also would have been nice to have more information on why Vivi ended up marrying Shepherd 'Shep' Walker (James Garner - older; David Lee Smith - younger). Without really understanding the backstory to Vivi it is a bit hard to understand why she had the nervous breakdown, but I don't know that you can ever fully explain why someone had one - you can just start to come to grips with the fact that it happened and the ramifications of it. So, despite not having all of the information I would have liked to Vivi's backstory, the story was pretty good. The only other thing I think I should mention is that it would also have been nice to see how this blow-up between Siddha and Vivi affected Siddha's siblings. Even though she was the oldest, they were all probably old enough to remember at least some of the things that happened (this may be addressed in the book).

As for the acting, I was very impressed. I've never really thought Sandra Bullock was a great actress. So, when I saw that she was the main character in this film, or at least, was supposed to be, I was a bit worried. Well, she was okay, but she really isn't the actress to watch. Ashley Judd is the one who really has to push the limits of her acting ability and she does a great job. I think Ashley Judd has a lot of talent and was a very convincing younger Vivi, including the time during the emotional breakdown. The older Ya-Yas were also very good. Whenever they were on screen they pretty much stole the show from everyone else which, again, I can't say I minded because I'm not a huge fan of Sandra Bullock. The one person who I wish would have had more screen time but did great with what he had was James Garner, who truly did a great job of playing the role of a saintly husband who put up with a lot.

Overall, I surprised myself by finding ways to relate with this film. I would suspect that pretty much every child holds some resentments towards their parents. I know this is a bit Freudian, but those feelings can later emerge as relevant to people's attitudes towards their parents and life in general. I think this movie (which is based on a book) does a great job of dealing with those issues and illustrating how devastating they really can be. I highly doubt that any parent can prevent their kids from having issues with them, but this does give a good example of how those issues can be addressed at a later point, when both are adults and able to better understand how one's actions affected the other. Maybe I'm reading too much into the movie and all of this psycho-babble Freudian analysis isn't really there, but I think it is. Anyway, it is a movie that tugs on the heart strings, but I think most people can relate to the reasons why. Because of that I would recommend this movie for pretty much anyone that has a mother, which means everyone (whether you know who she is/was or not).

Mother daughter reunion.....................................
I LOVED THIS MOVIE!

The Divine Secrets of the Ya-Ya Sisterhood tells the story of how the Ya-Yas, try to fix the gap between mother and daughter, daughter and fiancee, and in doing so, lead to a greater, deeper level of understanding between all of them as well.

I highly recommend this movie for all mothers, daughters, sisters, and friends.

It's not just about that but its so much more having real friends who would go against you in order to help you! This is such a great movie.

Good, surprisingly touching.
'The Divine Secrets of the Ya-Ya Sisterhood', the novel, is a good, NOT GREAT, example of modern fiction. It is warm, touching, funny, involving and well-conceived, but conversely, it is prissy, cloying and overly sentimental at times.

'The Divine Secrets of the Ya-Ya Sisterhood', the movie, shares all of these traits with its best-selling inspiration. It too is warm, touching, funny, and involving, but, like the book, has more than its fair share of incongrous emotions and oftentimes silly plot twists that prevent it from being a True Classic.

Starring Sandra Bullock and Ellen Burstyn (in a wonderful return-to-form, one of the best things in this picture) as Siddalee and Vivianne Walker, 'The Divine Secrets of the Ya-Ya Sisterhood' tells the story of how the Ya-Yas, Vivi's lifelong friends, heal rifts between mother and daughter, daughter and fiancee, and in doing so, lead to a greater, deeper level of understanding between all parties involved.

The movie has many, many good points. The contrast between Sidda's hectic, neurotic city-girl chic and the Ya-Ya's slower-paced, yet nonetheless as complex, lifestyles, is nicely executed, and Bullock once again proves herself to be a decent actress who, while she may not yet have found her niche, is well on her way to becoming a true talent. Burstyn is glorious as the mentally challenging Vivi, and her pals, Ya-Ya'd to near-perfection by Fionnula Flanagan, Shirley Knight and Maggie Smith, all gel well as an ensemble, even if their individual performances lack the individualism of the novel's counterparts.

The surprise of the picture is Ashley Judd as the young Vivi, she displays here an excellent understanding of the character and her portrayal of manic depression and alcoholism is as real as it is affecting.

Sadly, the bad points of the movie come in the shape of some VERY unnessecary plot-tinkering (lovers of the book will know what I mean!) and the Oirish Occent so reprehensibly attempted by the mundane Angus McFayden as Conor McGill - I'm talking ear-bleedingly bad. Are there no Irish actors in Hollywood? Would it have been so terrible, in the wake of all the other movie changes, to make the character of Conor American? Grrr.

Similarly out-of-place is the portrayal of Buggy Walker, Vivi's mother, a religious nut who doesn't come across as zealous at all, thereby robbing Vivi of much of her raison d'etre.

This is a chick-flick, undemanding and sweet, and in places, excellent, but it's a shame that it could have been so much more, and is not.

Recommended for rental.

Better than I expected
To tell you the truth I wasn't all that excited to see the film, just excited to have a girl's night out. I was pleasantly surprized. Sandra Bullock was wearing makeup in a movie for a change and did a better acting job than usual. Ashley Judd, who I didnt' even realize was in the film, gave an Oscar-worthy performance (though I doubt she'll be recognized for it). I've always thought she was beautiful but never considered her a fantastic actress until now. Magie Smith is wonderful, as usual and all of the other old ladies are do a fantastic job. It was nice to have a movie about women that doesn't focus entirely on the joys of youth, maturity has it's advantages. The man who plays Bullock's fiancee made me swoon, so handsome, charming and that great Irish accent. The southern accents in the movie are fun and the southern landscapes are breathtaking. Definitely a chick flick and good for men who want to understand more of the complexities of women. Be prepared to cry and to think a lot about your relationship with your mother. I actually managed to get my husband to sit thru this one when it came out on DVD, which is a real feat.
3 1/2 stars. ... Read more

Reviews (38)

A rousing adventure tale! Highly recommended!
I was pleasantly surprised to find this version of JASON AND THE ARGONAUTS as a worthy successor to the original film starring Todd Armstrong.

I admit I was expecting some cheesy, low budget, badly-acted made-for-tv series but was pleased to find an entertaining film that stays faithful to the original myth. Add to that a strong cast, good production values and impressive special effects and you have a film that you will want to watch again and again.

The story centers on Jason (Jason London), who returns to reclaim his kingdom from his uncle, Pelias (Dennis Hopper). In order to regain the throne and save his mother's life, Jason agrees to sail to Colchis and obtain the golden fleece. With a crew that includes Orpheus, Atalanta, the mighty Hercules and the shipbuilder Argos, Jason faces many dangers on his quest for the fleece. The argonauts encounter the bronze giant Talos, the women of Lemnos (led by their queen Hypsypile - Natasha Henstridge), blind Phineas (Derek Jacobi) and the frightening harpies, the clashing rocks and more. When Jason arrives in Colchis, he falls in love with the lovely Medea (Jolene Blalock) but must face more challenges (including its ruler, King Aertes - Frank Langella) before he can leave the island with the fleece.

This version is more faithful to the myth than the 1963 film. For instance, Orpheus, Atalanta, Castor and Pollux make their appearance here. Also, this version shows what happens when the argonauts return home and has a better, more tightly woven ending than the original. The special effects are impressive and I enjoyed the behind-the-scenes bickering between Zeus (Angus MacFadyen) and Hera (the lovely Olivia Williams). I also thought that this version's Hercules (Brian Thompson) was a lot more convincing than Nigel Green from the original. This film also does a great job of portraying the role of the gods in Jason's quest.

However, there are also a few weaknesses. For one, I certainly miss the Talos of the original. Watching Talos first come to life on the 1963 film still gives me goosebumps up to this day. That Talos was definitely one of Ray Harryhausen's greatest creations. I also preferred the many-headed hydra to this version's giant lizard-like creature. Jason London is a passable lead but I believe the filmmakers could've picked a stronger actor. He certainly is nice to look at and the supporting actors more than make up for his shortcomings.

All in all, I enjoyed this film and would recommend it to those who enjoy mythological, fantasy or action/adventure films. For those who enjoy Greek mythology, I suggest you also check out the 1963 version of JASON OF THE ARGONAUTS if only to see the fantastic Talos and the army of skeleton soldiers as well as CLASH OF THE TITANS (starring Harry Hamlin) and upcoming film TROY (starring Brad Pitt). Edith Hamilton's book MYTHOLOGY: TIMELESS TALES OF GODS AND HEROES is also a great introduction to the wonderful world of Greek and Roman myths and legends.

Despite weak lead, this "Jason.." still entertains.
This recent NBC mini-series covers the classic Greek myth of young Jason, who sought the Golden Fleece in his quest to be king. Unlike the classic Ray Harryhausen film of the 60's, this version is a little more grim and dark than usual for this type of film, but it entertains nevertheless. Brian Thompson (the alien bounty hunter from THE X-FILES TV show) is a hearty and jovial Hercules, while the kings of Frank Langella and Dennis Hopper and Natasha Henstridge's queen provide ample opposition for our hero. As the musician Orpheus, Adrian Lester delivers a thoughtful and solid performance. Robert McFadden is good as a petulant, yet puckish, Zeus. Unfortunately, where this movie falters is in the performance of Jason London as our hero. While he has the "angry young man" aspect right, he lacks the heroic passion and fire (that Todd Armstrong displayed in the 60's version) needed to be a credible leader of his Argonaut crew. Fortunately, there is so much action and special effects in this film that it can be overlooked to some degree. While not the classic that Harryhausen created, this is still an intelligent and solid film version of a favorite myth.

One of the Best Movies Ever Made
This movie is based on the classic Greek myth. As it begins, Iocles is being invaded by King Pelias(Dennis Hopper) and his soldiers. He defeats the defending army and marches into the palace, where he tricks his brother and murders him. He tries to kill the king's son, Jason, but a soldier of the king rushes in and saves him just in time.

Some years later, Jason(Jason London) awoke from a dream. It was a dream that he had many times before. It was the memory of the day Pelias invaded. He asks the centaur Chiron, who had been raising him ever since the day his father was murdered, what the dreams meant. Chiron told him that they were a memory, that the man who was murdered was his father, and that the man who murdered him was his uncle, and that the woman present was his mother, the queen, whom Pelias had taken as his wife. So with this information in minds, he goes to the capital of Iocles to meet his mother. Along the way, he loses one of his sandals.

The court seer sees Jason, and informs Pelias that a dangerous threat to his throne has arrived at Iocles, but that all he knew about him was that he only had one sandal. So, Pelias orders Jason to be brought to him. He speaks with Jason, and is about to have him killed, and asks Jason for one good reason not to, and Jason says that he will find the Golden Fleece, which Pelias wanted above all other things. Now, the Golden Fleece was said to be the Gods greatest gift to man, for it brought it's wearer his hearts desire. And Pelias's desire is to live forever, so that he may rule Iocles forever.

Pelias has ordered a ship to be built for Jason by the famous shipbuilder Argos. The ship is named the Argo, in homage of it's builder, especially as seen as Pelias had ordered Argos to travel with Jason under pain of death. Jason goes off to look for a crew. First, Jason recruits a former soldier named Mopsus, whom Jason recognizes as the man in his dream who saved his life. Then, they hire two blacksmiths named Castor and Pollux. Then, Jason hires a shepherd named Laertes, who happens to know how to bulljump. Jason also goes to the mapmaker's house, where he gets a map that will take him to the Golden Fleece. The unusual thing about the map is that it is not an ordinary map, but a map of the stars. Jason also recruits the musician Orpheus.

Jason finds the rest of his crew, but as he heads for the Argo, a thief steals the map. Jason chases him, but the thief is caught by the famous Greek hero Hercules,(Brian Thompson) who requests to be let a crewmember. Jason readily agrees.

Just as the Argo is about to set sell, four unexpected things happen. Jason finds his half-brother Acostes stowing away. Acostes wants to travel with Jason, for their mother's very life is at stake. The thief who stole Jason's map requests to be let a crewmember, claiming he has reformed his ways(the thief's name was never mentioned), the mapmaker's son Zetes hopes aboard offering his assistance, which is invaluable(he has eyesight tens times greater than an eagle; a gift from the gods, of course), and the great huntress Atlanta also requests to be let onboard. Jason agrees to all of the requests. At last they set sail for Colchis Along the way, Zeus, King of the Gods(Angus MacFaydon), and his wife Hera(Olivia Williams, help and hinder Jason and his crew as they sail across the seas in their fantastic search for the Golden Fleece...

Also starring Jolene Blalock, Frank Lagella, Natasha Henstridge, and Derek Jacobi. As an adaptation of the classic myth, this story is incredibly. The real myth was hokey and boring-definitely a myth-but this movie is fantastic. The special effects are great, the acting is great, the storytelling is great, and the movie in and of itself is great. It's one of the best movies I have ever seen, and an excellent version of a classic myth.

Recommended age: 10 and up. PG-13. 2000.

More fidelity to the classical myth but no sense of epic
As someone who teaches Classical Greek & Roman Mythology it is impossible for me to sit through something like the 2000 mini-series "Jason and the Argonauts" without constantly thinking about its fidelity to the myths of antiquity. Certainly this new version works in more members of the Argos crew than the 1963 film version with its Ray Harryhausen stop motion animation that is one of the beloved films of our youth. This time around there we have not only the mighty Hercules (Brian Thompson) aboard, but also Orpheus (Adrian Lester), Atalanta (Olga Sosnovska), Castor (Omid Djalili) and Pollux (John Sharian). We also have Jason (Jason London) and the Argo visiting the land of the Amazons and other details from the epic poem written by the third-century poet Apollonius of Rhodes, as well as the relationship between Jason and Pelias (Dennis Hopper) taken from Pindar. There is also a hint of the Medea (Jolene Blalock) that Jason will get to meet in the tragedy by Euripides. The only complaint is that unless you know the background on most of these characters you have no way of appreciating who is sailing with Jason. A prime example is when Orpheus mentions losing Eurydice but does not tell of how he almost won her back from Hades. Meanwhile, Atalanta seems to be interested in Jason (what would Artemis say?).

But while Matthew Faulk and Mark Skeet get credit for working the ancient sources into this telling of the tale, the problem is that the end result misses the magic of the Harryhausen version. The problem is twofold. First, the tenor of the story has contradictory impulses. On the one hand we have the active participation of the gods, with Hera (Olivia Williams) and Zeus (Angus MacFadyen) aiding and hindering Jason in his quest as they work out one of their frequent marital spats. But on the other hand there is an effort to make the story more realistic, in terms of the politics and relationships, which works against the idea of being the playthings of the gods. None of the actors strike heroic poses or speak in grand phrases and even Dennis Hopper is remarkable restrained in his performance. 'Jason and the Argonauts' tries to reconcile these two by having the gods work behind the scenes for the most part, but then Poseidon stands up and that idea is quickly dispatched.

Second, Jason London as the title character looks too young. I know the actor was 28 when he made this mini-series but he seems like a youth. One of the problems with the story was while the greatest heroes in Greece would come to sail with Jason, a callow youth, which Apollonius solved by having Hera make them all want to go. Instead Faulk and Skeet have Jason make up have the crew with undesirables, some of whom provide comic relief, helped because of the aid of the guard who saved him from death as a youth. In other words, Jason leads the Argonauts because that is what was written in the script. Granted, this is consistent with the tone of the mini-series, but you cannot help but think that when Jason meets Medea that she is going to eat him alive (of course, she does much worse, but that is another tragedy). The end result is a production of 'Jason and the Argonauts' that lacks the sense of heroic adventure that the tale personifies in classical mythology. It was okay and it should have been fantastic.

Jason and the Nonactornauts
True to the story, good cinematography, and nifty transitions however the acting by Jason and Pelias was downright painful to watch. King Pelias couldn't even pronounce Queen Hera's name correctly. Other actors were good. ... Read more

Reviews (52)

WE WILL ROCK YOU
In time of crisis, nothing is better than the 'Panis et Circenses' politics. And the US government kwnew it for sure. So, in the late 20's, early 30's was created the Federal Theatre Project. Many treatre groups nation wide were sponsored by the government, as long as they staged plays that cheer the audience, which, by the way, was formed mostly by unemployed people. Later on, the Congress investigated the FT due to some accusasion of comunism. After a 20% cut in the sponsor, many plays had to close and many artists increased the number of unemployment. One of the plays most affected by it was "Cradle Will Rock", a pro-union musical directed by Orson Wells that is prohibited of being released.

Tim Robbins's movie uses the Wells's production as an 'excuse' to show us how art and politics can affect each other in many levels. The film is a wonderful American quilt with many tiny stories that little by little get togheter and creat a huge power over the audience. Besides "Cradle..." story, there is also the fight between Nelson Rockefeller and Diego Rivera over a mural painted by the artist in the lobby of The Rockfeller Center, in NY. The magnate went mad when he saw displayed in the painting Lenin's face. Another important pole of the movie is an ex-Mussolini's lover, who is in the US selling works by Italian geniuses, like Leonardo and Michelangelo, in order to get money to help Facism in Italy.

All there plots look a bit distant from each other in the beginning, but as the movies grows, one can notice how all of them are showing the power of the art and the artists over a society that is changing. Robbin's direction is very effective and touching. He shows how much he loves the artistic class and arts in genneral. But it is nothing new coming from one of the most political actors in Hollywood. The script mixes comedy, with musical and drama in perfect doses. Although the film takes some Artistic licences, they do not ccpromise the accuracy of the facts. By the way, as it is said in the beginning, it is 'based on a mostly true story'.

The cast is a huge who-is-who, and every actor seem to be perfectly fit in his/her part. Joan Cusack has never been so deliciously hateful. Susan Sarando has a wonderful Italian accent and we can notice how sad her charater is because she has to sell works from masters to get money. Vanessa Redgrave is wonderful as a theatre enthusiast. She shines every scene she is in. The most importat female role belongs to Emily Watson, who perfectly plays an unemplyed-turn-to-actress singer who has to deal with lack of money in order to survive. The male cast is also exceptional. Hank Azaria is wonderful as the composer Mark Blitzstein, and it is amazing to watch his creation process of the show. John Cusack is as hateful as his sister, playing Nelson Rockefeller. Bill Muray is perfectly melancholic as a ventriloquist.

If Karl Marx had written musicals instead of essays, he probably would have written something very close to " Cradle Will Rock", the play. It has an extremely polical tune. Once I read in an interview Tim Robbins saying that Emily Watson's character was the hero of the movie. But I'm not sure of it. I think she may be the most important, but it seems to me that the hero -- if it happens to be one-- is the ART, which is portrayed as having a power to transform society. It is a wonderful smart and touching movie, that needs be discovered. Another thing, how do you understand the ending? I could not come up with a conclusion. It is very open.

No Lenin -- Rather, Lennon...
This is a brisk, fun film in many ways, because director Tim Robbins understands that it is very difficult to be didactic and entertain. But, as Oliver Stone uses fast cuts and snappy dialogue so as to "keep it moving," Robbins does just that too; and -- also like Stone -- he employs an exemplary cast to great result.

Ramon Blades portrays Diego Rivera as a wryly perceptive charmer; John Cusack is a superficially sophisticated Nelson Rockefeller; Emily Watson is a poignant portrait in sadness as the actress actually "off the streets," Olive Stanton; Bill Murray is equally impressive as the melancholic, resentful vaudeville ventriloquist, Tommy Crickshaw; John Turturro is powerful and inspiring as the principled Italian immigrant who plays the union organizer in the radical Federal Theatre project musical that gives its title to this film. (And I must add an accolade for Corina Katt, who is Frida Kahlo: she takes a small part with only a few lines -- in Spanish, already! -- and you literally can not take your eyes off her when she is on screen.)

As I say, there is a great deal of "fun" in this film, yet its essential story is serious and sad. It chronicles the erosion of politically potent (meaning "radical") popular theatre into the (generally) escapist entertainment that pervades most American arts today. From "Lenin" (who does not "stay" -- as Rivera's Rockefeller Center mural attacking imperial capitalism is destroyed by a self-righteously indignant Nelson) we have declined to "Lennon" -- i. e., a song like John Lennon's "Imagine" is as "radical" as pop culture is likely to allow.

And note especially the masquerade ball sequence in which Nelson Rockefeller, William Randolph Hearst, and "Gray Mathers" (a fictional but representative steel magnate) discuss their scheme to exalt "individualistic" (i. e., ego-centered) abstract, scenic and erotic art at the expense of art with social purpose and a social conscience. If you wonder why there are so few good films that seriously critique our society and system (and so much silly, adolescent-oriented soft pornography), here is an explanation worth pondering -- as well as a movie worth seeing.

INTERESTING PASTICHE OF CHARACTERS, BUT TRIES TOO HARD
Tim Robbins' ambitious attempt to blend the spirit of a screwball comedy with the conscience of a meaningful film with a message. A dazzling ensemble of characters who are seemingly separate from one another but all their loose ends are woven back together at the end, just like in Altman's movies.

The subject I'd say is a bit cliche (Business = bad, Unions = good) but under proper direction could have been made interesting. Yet, Robbins chooses to apply such a hamfisted hand that it's difficult to get caught up in the story, despite the blistering pace at which he tells it.

Plus, the protagonists seem shallowly defined. Either they're good, salt of the earth sort of people, or they're insecure, lonely and desperate whistle-blowers (like the character played by Bill Murray).

At roughly 2.5 hours length, some judicious editing was in order, but despite the epic scale of the production and the calibre of the actors, this film ultimately winds up being little more than a overdrawn diatribe on the state of big businesses in the US.

Recommended rental perhaps for some neat camerawork, or perhaps the last 20 minutes that were without a doubt the most clever and entertaining bit of the entire film.

Will Rock You... Awake!
Where is class warfare now that we need it? In the 1930s, when most decent people feared a Communist in every closet, no one thought twice about the fascists and their capitalist allies despoiling the commons. Into this time stepped the

Federal Theater Project (an offshoot of the New Deal's Works Progress Administration), which provided outlet and employment for Depression-era artists. Too bad they were Socialists, too. If you don't know the history of the period, you'll miss a lot of this fascinating story. Cradle Will Rock reflects the title of an FTP production, a real musical written by the real-life playwright Marc Blitzstein (played by Hank Azaria).The anti-communist Dies Commission tried to close down the FTP because it criticized capitalism and harbored Communists. But The Cradle Will Rock opens defiantly in another venue, on June 16, 1937, when the original theatre is padlocked.

Getting to opening night is a fascinating, serpentine historical journey. Imagine this mix of personalities: Orson Welles (Angus Macfadyen) crossing creative swords with John Houseman (Cary Elwes), Nelson Rockefeller (John Cusack) trying to temper the revolutionist artist Diego Rivera (Ruben Blades) - a confrontation played somewhat better in Frida. And then there were other, lesser-known and fictional, characters, such as real-life actress Olive Stanton (Emily Watson), pining for a role; real-life Margherita Sarfatti (Susan Sarandon), passing the hat among capitalists like fictional steel magnate Gray Mathers (Philip Baker Hall) to support the fascist Mussolini; fictional actor Aldo Silvano (John Turturro), balancing his socialist theatre aspirations against his pro-fascist family; and the FTP director and advocate, Hallie Flanagan (Cherry Jones), who fights the good fight for survival against the Dies Committee and do-gooder Hazel Huffman (Joan Cusack). (Huffman is lusted after by jaded ventriloquist Tommy Crickshaw, played by Bill Murray).

It is gratifying to know we can still get a pro-union film produced in this country, even though a lot of films escape to Canada to avoid union rules and negotiated pay rates. Just to give you an example of why rights for workers are necessary, here is an excerpt from a 23 December 2002 news story:

"Last week a jury confirmed what labor activists have argued for years - Wal-Mart is a corporate criminal making its profits by illegally breaking wage and labor laws: `In the lawsuit, 400 current and former employees from 18 stores in Oregon accused the company of violating federal and state wage laws by systematically pressuring them to work unpaid overtime.' And this case is just one example, as Wal-Mart has been quietly settling other lawsuits by employees across the country. Globally, Wal-Mart's drive for low wages extends to contracting with sweatshops in developing nations that systematically violate human rights and workers rights."

Writer-director Tim Robbins has venerable liberal credentials, dating to the wicked satire Bob Roberts (1992), and he juggles all of these story lines with consummate skill. He and his excellent cast capture the excitement of putting on a show that might actually change minds, rather than just bring in spare change. There was a time in American history when some people were paying attention to what's good for American people rather than just American corporations. Cradle Will Rock is meant to rock you, not to sleep, as most entertainment does, but wide awake.

Brilliant Exploration of Art and American History
The only thing one can say after watching this film is WOW. Tim Robbins takes on such a wide range of issues and does it well. The cast is amazing. The subject matter -- Art/Censorship/Wartime Politics/Patriotism - is so relevant today. I wish the studios would re-release this and soon, before we wind up with an Ashcroft/Rumsfeld witch hunt related to Iraq and 9/11. Even without thinking of these larger issues, the movie is simply great entertainment. There's romance, drama, comedy, rags to riches sub-plots and history. Characters include Nelson Rockerfeller, WR Hearst, Diego Rivera, and Orson Wells. I mean this is ambitious stuff. If I taught high school or college American History, I would show this film as a teaching tool. Enjoy this film and hope that hollywood makes more like it. ... Read more

Description

They had ' 'the world on a string' '. Frank Sinatra, Dean Martin, Sammy Davis, Jr., Peter Lawford and Joey Bishop, known as ' 'The Rat Pack' ' set the style and the pace for 1950's America as the nation roller coastered its way towards the swinging '60s. But can the high life last forever? If Frank and the boys have their way by electing John F. Kennedy, the party has only just begun. ... Read more

Reviews (34)

A Litttle Off-Center, But Brilliant Nonetheless
No matter how you slice it, "The Rat Pack" is a good movie. Great performances, a very well-written script that captured the subjects beautifully, a swinging soundtrack and stylish visuals all combine to make this a fantastic film..

A better Sinatra could have been found out there, surely. Ray Liotta is a great actor in his own right, but just wasn't the right choice for this part. However, Joe Mantegna as Dean Martin and Don Cheadle as Sammy Davis, Jr. (both were nominated for Emmys) were spot-on. Mantegna was wonderfully elusive as the deadpan, enigmatic, very sober Dino, and Cheadle stole the show as the immensely conflicted Sammy. I very much enjoyed Angus MacFadyen as long-suffering Peter Lawford and, even though he appeared only one or two times, Bobby Slayton as Joey Bishop. Good performances also came from William Petersen as JFK, Megan Dodds as May Britt, and Dan O'Herlihy as the scheming Joe Kennedy. And it doesn't hurt that the makeup (Emmy-nominated also) was great--take a look at the briefly-shown old Sinatra at the beginning!

The movie tries way too hard to cover several years in a couple of hours. It completely skips any backstory (including the Pack's formation), leaves out lots of things and people, and ends far too early, cutting out the many interesting developments in the years to come; also, many key players included are downscaled, like Bishop, Monroe, and mobster Sam Giancana. Also, incredible dramatic license is taken in places, ranging from the not-so-important (like the fact that the Pack always had their hotel rooms on the same floor, and "One For My Baby" was recorded years before the end) to the major (Peter informed Frank that Kennedy wasn't coming over the phone from D.C., and Dino and Sammy weren't there, either). But, somehow, it all still works.

Plot defects aside, there are some moments of sheer brilliance; the gang's music was used in striking ways to enhance what was onscreen. Sammy's first scene, with him singing, dnacing, and playing the drums AND the trumpet, really showed the immense body of talent he possessed (arguably more than any other Pack member) and the one-man showstopper he was. The group's carousing was caught nicely with the Summit re-enactment, and the after-parties in the great segment with "Ain't That A Kick in the Head" playing while the camera enters each member's hotel room. (Dean really would settle in with a comic book and a Western on TV!) The scene with Frank sailing with JFK at Hyannis Port, when Frankie was on top of the world, had "I've Got the World on a String" playing under it (it also played over the credits). Sammy singing "I've Got You Under My Skin" to the Ku Klux Klan; the juxtaposition of the lyrics and the situation--suddenly the words aren't about love anymore, but strong hate! This is a number that will leave you reeling. The final segment, with Frank singing "One For My Baby" as we see what becomes of the Pack and all their cohorts and remember their glory days, before Frank disappears in a cloud of smoke a la his "retirement" concert in '71, is as beautiful as it is stunning. I got chills when I saw the scene with Sammy, dressed in black satin pajamas, watching racist television reports about himself in an entirely white room. And Frank's introduction, singing "Live Till I Die," is beyond words. The lyrics sum up his life so well it's scary: "Those blues I lay low/I'll make them stay low/They'll never trail over my head/I'll be a devil till I'm an angel...Gonna dance gonna fly/I'll take my chance riding high/Before my numbers up I'm gonna fill my cup..."

It may miss here and there, but all in all, "The Rat Pack" is an motion picture experience that should not be missed.

terrific entertainment
Chris Dudley must be a famous movie maker, that's why he knows so much more about making films than the people who made this piece of terrific entertainment. Why, this film doesn't "focus" on how each one of them became famous. It spends too much time on Sinatra, when really we all wanted to see more of Peter Lawford. At least Dudley knows how to spell "non-sequitur" but either he doesn't understand it or doesn't get why the lyrics to the song "I'm Gonna Live" perfectly presage the extracts from the life of its singer, Frank Sinatra, we're about to see.

Dudley doesn't want a movie, he wanted a 10-hour mini-series.

What we got was fun and exciting, with several scenes you will remember forever (at least I will), not just because it's like you're watching the real history we never knew at the time, but because they are well played and paced. For example, the scene in a nightclub with Frank, Dean, Sammy, Peter, Marilyn Monroe, Joe Dimaggio, and Jack and Bobby Kennedy sitting at a big table, with Judy Campbell (later to become Exner) sitting at a small table off to the side, with mobsters Johnny Roselli and Mickey Cohen over there, is extraordinary. The "High Hopes" number was great, and yes it did happen. The meeting between Joe Kennedy and Sinatra where the Kennedy clan patriarch directs Sinatra to ditch the blacklisted writer he had hired and to get his mob pals to help "win" the West Virginia primary is all the more powerful for being so brief. Frank's passionate argument with Ava showed how much two people who really love each other can hurt the other. How much more can you reasonably ask from a 2 hour TV movie, or indeed from any movie?

I didn't see this until just the other day and I damn near stayed up all night just to watch it, and it takes something arresting to grab my attention and keep it that late at night when I really had no intention of seeing the sun come up.

Rat Review
I thought the Rat Pack was an excellent movie. Charactor portrayals were very close to what I remember them being having grown up in the early 50's. Tensions abound inside the Pack as they deal with the evolution of entertainment industry close friendships and outside as Sinatra draws the Pack through a politics-meets-the-mob maze. Perhaps the most telling and eloquint of all lines spoken, Sinatra's reflection on days past, "I miss my guys."

If you haven't seen this movie, you're cheating yourself out of a delightful romp through the old days of wine, women, and song.

OK movie but Not all that Realistic!
I had this DVD, it was one of the first DVD's I bought when I got my DVD player and it was an ok movie but perhaps containing more fiction then fact. The acting was good even though most of the cast didn't resemble the people they were portraying except maybe Angus MacFadyen who looks a little like Peter Lawford but I think Bobby Slayton who played Joey Bishop looked a lot like the real Joey Bishop. While this movie wasn't a totally true accurate account of these guys it was worth watching once and I do think that Ray Liotta (Frank Sinatra), Joe Montegna (Dean Martin) Angus MacFadyen (Peter Lawford), Don Cheadle (Sammy Davis Jr) and Bobby Slayton (Joey Bishop) gave good performances even if most of them didn't look much like who they were portraying. An ok movie but after I watched it I went to a store that lets you sell or trade your DVD's and I traded it in for another used DVD.

Entertainment 4 stars, accuracy 2 stars maybe
This movie is indeed good entertainment and nothing more than that. It somewhat captures the swinging late 50s and early 60s before the onslaught of the Beatles changed the music industry forever.

There are a bunch of half truths and rumors in here but the movie is fun to watch anyway if you take it with a grain of salt. For example, by early 1962, Sinatra was no longer at CAPITOL and the song ONE FOR MY BABY was recorded at CAPITOL in 1958.

None of the rat pack except maybe Joey Bishop and Peter Lawford's character closely resemble the real legends in looks and speaking voice.

As stated earlier, this is a good half truth, half fiction movie. ... Read more

Reviews (17)

I love that film.
Yes, I am aware of it's imperfections, but still I love that film. It's miles above the majority of kiddie productions.

My son has a collection of action figures from movies and video games and the Roos are the best. Their design is so strikingly unexpected!

The action sequences are shot very artfully - all these leaves floating in the streams of Power, the resolved fighting of these who HAVE to fight, the total absence of JackyChanesque "funny" grimaces.

My son and nephew were obsessed by the movie for days, confronting each other with these - You came uninvited! - - Come on and pla-ay!!!- phrases, having their try at the art of flying kicks.

The film is kind, the baddies are redempted at the end but all that with the minimal level of saccharine preaching.

I want to thank the Law brothers and Ronny Yu, stuntmen and designers, who made the miracle happen. I've bought the VHS and later the DVD, recommended the film to all my friends who have sons - I want to let the people behind that film know that their effort is very much appreciated.

excellent movie
I read all the comments about this movie, and I started to watch this movie with low expectations, everyone was saying that this movie sucks. But then at half the movie, I realized that the suckers were the ones writting the reviews. Let me tell you that at the end of the movie I wished that it had not one but several sequels with the same quality in general. The producers really created something imaginative, the director just rocks with this movie, the acting is real good. This movie is way up there, and even better in some aspects, with Matrix and Blade, the story even though it is not truly original in itself, it delivers the goods. The action and martial arts, and the conveyance of the feelings and emotions, is for all ages not just for kids. Do not believe the fools that say this movie is awful. Please watch this movie if you want to see something spectacular and emotive. This movie deserves a double ten out of nine!!.

Anyone seen "Tank Girl" (1995)
They used those EXACT SAME kangaroo-people costumes from that movie, in this movie.

great movie
I first watch in the theater, with my first child(a girl)and husband, in 1997, rented it when it came out, and just recently found it in the library and check it out. It's amazing how after 6 years my husband and I still enjoyed it. And now not only do I and my husband enjoy it, but our four children enjoy it. My son loves it so much, that he wants us to find it and buy it.

Imagination
I have seen this movie several times, and I still rewatch it. After seeing it the first time rented; I immediately went ut and bought it. This movie is not for some because it takes an imagination to truly enjoy. If you truly enjoy fantasy and a movie that makes you think about the message, this may be one for you. ... Read more

Description

In an effort to remain neutral, Ireland made a deal to intern any soldier, German or Allied, captured on Irish soil. During a dogfight, Allied pilot Miles Keogh, and German pilot Rudolph von Stegenbek shoot each other down and are captured. The camp commandant tries to keep the peace between these sworn enemies. But, when both men fall in love with Mattie, their hatred becomes personal. ... Read more

Reviews (7)

Jean`s Amazing Screen debut
I really loved this movie with very strong performances from the lead actors and the debut of dance star Jean Butler is truly fantastic and the dance gig she performs is worth 5 stars on its own and i am suprised Bill Campbell isnt a bigger star that he is, Angus maCfadden showing what a fine and underated actor he is as the German and the dvd is very good as it includes a decomentary of the real life camp of WWII,i highly reccomend this movie if you like real life ar stories as it has everything,action,comedy,romance ,fights etc and includes many excellent performances from UK Tv stars including Joe McGann and John Gordon Sinclair,but for me it is the astounding beauty of Jean Bu