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In the ongoing deluge of comic-book adaptations, Hellboy ranks well above average. Having turned down an offer to helm Harry Potter and the Prisoner of Azkaban in favor of bringing Hellboy's origin story to the big screen, the gifted Mexican director Guillermo del Toro compensates for the excesses of Blade II with a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin--in cahoots with occult-buff Hitler and his Nazi thugs--opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers. Instead, the aptly named Hellboy is raised by the benevolent Prof. Bloom, founder of the Bureau for Paranormal Research and Defense, whose allied forces enlist the adult Hellboy (Ron Perlman, perfectly cast) to battle evil at every turn. While nursing a melancholy love for the comely firestarter Liz (Selma Blair), Hellboy files his demonic horns ("to fit in," says Bloom) and wreaks havoc on the bad guys. The action is occasionally routine (the movie suffers when compared to the similar X-Men blockbusters), but del Toro and Perlman have honored Mike Mignola's original Dark Horse comics with a lavish and loyal interpretation, retaining the amusing and sympathetic quirks of character that made the comic-book Hellboy a pop-culture original. He's red as a lobster, puffs stogies like Groucho Marx, and fights the good fight with a kind but troubled heart. What's not to like? --Jeff Shannon ... Read more

Reviews (307)

Hell Goes Red
I had never even heard of Hellboy before the movie arrived, and I instantly wondered just what type of harbinger of doom and destruction could anyone be with the word "boy" in their name. Even the paltry Babel Fish of Hitchhikers fame would merely die choking on its own laughter.....or so I thought. I was very pleasantly surprised by the movie "Hellboy" and the overall story that it followed.

The main character is a demon, called "Hellboy" (Ron Perlman) funnily enough, who comes through a portal opened by Rasputin, (Karl Roden), at the behest of the desperate Nazis in 1944. After the portal is closed with the help of Professor Broom, (later played by John Hurt), Hellboy is found and becomes the FBI's latest weapon against the "things that go bump in the night". The bad guys come back in the present day to end the world, and they are Rasputin, his girlfriend Ilsa, (Bridget Hodson) and Karl Ruprecht Kroenen, (Ladislav Beran). To add to the mix, Hellboy has a new "babysitter" in Agent John Myers, (Rupert Evans) and a love interest in Liz Sherman, (Selma Blair).

Ron Perlman was basically born to play the role of Hellboy, from the basic structure of his face to the very mannerisms and attitudes that Hellboy exudes. Perlman was absolutely stunning in this role, and had the right, sardonic wit to pull it off with class and panache. Even with a huge amount of prosthetic make-up, Perlman was not limited in his expressiveness during the movie. The action scenes were also excellent, and the make-up did not seem to inhibit Perlman's movements at all.

Karl Roden brings an intense and deeply emotional Rasputin to the movie, and particularly in the last scenes brings through an intense amount of feeling. However, I would not say that the eerie sense of evilness really came from him. That was really provided by the near-silent Karl Ruprecht Kroenen and his deadly blades. Kroenen is very much the silent type, and mostly communicates through gestures, if at all. The masks that he wears through the movie also add to the inhuman quality of the character, as well as a very quiet, but noticable hissing as he breathes.

For the special effects and the set designs, I can only add to the positive comments for this movie. The dark feel of the movie was excellent and added to the sense of forboding that was brought by some characters. Also, the achievements of the effects team were really stunning, and what they managed to do with various everyday items has been great. Also, the robotics and so on have been excellently executed and have only added to the movie's overall feel and atmosphere.

The 2-disc set provides some interesting information on both the making of the film and various characters as well. I found them to be very informative and well set out. If you do not want to wade through stuff that is not interesting to you, you can go straight to that section, rather than watch the entire "Making Off..." thing.

For action and a good story that combines history, fantasy, Hell, magic, and some very interesting characters, "Hellboy" is pretty hard to pass up. I thoroughly enjoyed every aspect of it, including the Samaritan, which "uses really big bullets."

good
overall this is a great movie... no great acting or story but the whole movie just "works"... one of the best comic book based movies ive seen... this is what sin city should have been like... the cheesy acting & dialogue are way better than that suck-fest called sin city...

the start of the movie reminded me a lot of the nazi stuff in indiana jones... but the hellboy nazis were not as goofy & lame as the ones in jones... until the end, which brings me to one of my biggest gripes with this movie...

all the main villans were shown to be very smart & in conrol leading up to the final battle... then all of the sudden everyone loses their mind, start rambling like madman, & let hellboy do whatever he wants... wtf? lame! its like they got to writing the end & tacked on the same crappy ending from any number of other action movies...

one other problem with the movie was the relationship between hellboy & selma blair... their "romance" was as interesting to watch as the blue guy eating rotten eggs in the fish tank...

entertaining but not worth the cash
The action sceens were awesome but unfortonetly the action

sceens are the only good part they are boring and did not keep

me interested in the movie. With the action sceens at 5 stars

and the normal sceens with no vilonce The average is 3.

Most movies I am still interested in the story and enjoy seeing

non vilent sceens.This movie is different I can only enjoy

action sceens.

"We're the ones who bump back..."
Commissioned by the Nazis, a bald Rasputin conducts a ritual in 1944 to summon a Daemon God into the world of mortals, but too much goes awry during the invocation due to the meddling of a Professor Bloom, yet the portal was open for far too long and a baby demon comes through, which is subsequelty raised by Bloom to become the unlikely crime-fighting, cigar-smoking, weight-lifting hero known as "Hellboy" {Ron Perlman}, who now must face the hell-hound-like denizens of the infernal regions. This character is added to the ungateful lot the likes of Nick Knight, Blade, and Dracula's son from Castlevania, who deny their origins and are at odds with their own natural darksides. Hellboy becomes the 'muscle' for a parapsycholical organization named "The Bureau for Paranormal Research and Defense", aided by a clairvoyant humanoid amphibian {"Abe Sapien"} and X-Files-like agents. He actually files his magnificent black horns resembling Lord Darkness' from Legend, down into ugly stumps that end up looking like goggles, in order to fit in with the group.

While the BPRD attempt to contain the firey talents of a Delia-like character named 'Liz' {Selma Blair}, who herself is quite a pyromantic hellion, she and Hellboy become mutually infatuated {despite the ingracious amorous advances of a fellow agent of Hellboy's}, which seems a perfect match, considering Hellboy happens to be inflammable, making for a very romantic spectacle when they embrace within a plume of blue flame.

Rasputin was drawn into the portal, and with the help of a striking Russian female cohort, and an impressive zombie-like character in a Nazi uniform wielding a blade in each hand, returns empowered as an anthropomorphic synthesis of Sammael, with the aid of the 'children of Nergal', to prepare the path for the nefarious inheretors of the planet.In a marvellous concluding scene, one gets to briefly see Hellboy in his potentially demonic splendor, inclusive of a crown of fire, before confronting Behemoth, a magnificent Cthulhuilike creature. Seems like 'somebody' has been selecting choice Infernal Names from The Satanic Bible!

The aesthetics are enjoyable, the plot intriguing, and the characters remarkable, although the Demoralization Process is present, but can be overlooked for the film's better qualities.

not a review - more of a question
I seldom ever write reviews - if somebody likes things I do not like (or viceversa) they are wellcome to it. As they say, de gustibus....

I only have one question to Guillermo Del Toro - can I have another one?!! Please, please please make the second one. I do not want to part with Ron Perlman as Hellboy and with others. I loved every moment of it, I want more! ... Read more

Reviews (62)

An extraordinarily good film ...
At the end of a disappointing summer movie season, I've started watching some of my favorites on tape. This movie is near the top of my all-time list; here's why:

ACTORS -- Most of the actors gave career-high performances in this movie. "Witness" helped establish Harrison Ford as a serious (i.e., non-Star Wars) action hero, and he demonstrates emotional range in this movie that doesn't show up very often in more recent films. Kelly McGillis is compelling, gradually and believably transforming from a shy widow out of her element to a strong, spirited member of her Amish community. Lukas Haas, who plays her son, offers a level of child acting that has only recently been matched by Haley Joel Osment. As other reviewers have noted, his wordless scene with Ford in the police station is a brilliant piece of acting -- an enormous amount of information and emotion is conveyed in complete silence. And Alexander Godunov brings a gentle grace to his role as the Amish farmer competing with Ford for McGillis' affections. It's sad that he didn't get more opportunities to demonstrate his acting ability before his death a few years later.

CINEMATOGRAPHY/SCORE -- As with most of Peter Weir's films (cf. "Dead Poet's Society"), "Witness" is visually stunning. The shift from the gritty heart of Philadelphia to the rolling hills of Amish country is jarring, and leaves one with a palpable sense of longing. I think the barn-raising scene in the middle of the movie is one of the most beautiful scenes I've ever seen filmed, both visually and thematically. Underscored (so to speak) with music reminiscent of Copland's "Appalachian Spring," it drives home the value of community and shared endeavor. It's a marvelously uplifting segment.

ROMANCE/EROTICISM -- The relationship between Ford and McGillis is very well done. The attraction that arises between them (driven in no small part, apparently, by Ford's kindness to the young boy) is constantly and realistically tempered by the awareness that they come from fundamentally different cultures. That slows the development of a relationship between them, which provides the movie with a delightful undercurrent of romantic tension. That tension reaches a peak in a powerful scene in which Ford sees McGillis giving herself a sponge bath. There is nudity in this scene (McGillis turns and shows herself, topless, to Ford), but it seems to be precisely the kind of nudity that, as actresses like to say, "is essential to the story." Given the way in which the Amish are portrayed in this film, McGillis' character is making a very bold (and risky) offer, and the difficulty of Ford's refusal is evident in his face. There certainly is a lot of gratuitous nudity in film, but "Witness" is not in that category.

This movie is aging extremely well, in large part because of the sweep of its vision, the powerful simplicity of its story, and the skill of its execution. It is a terrific movie.

Impressive film!
"Witness" is defineately one of the greatest thriller/romance movies ever made. Directed by Peter Weir, the plot concerns a yuong Amish boy (Lukas Haas) who witnesses a murder in a Philadelphia train station bathroom while traveling to the city with his mother Rachel (Kelly McGillis in her best performance). Detective John Book (Harrison Ford) is assigned to the case, and quickly discovers that a corrupt narcotics cop (Danny Glover) is the killer. After a close shave, Book, Rachel, and her son escape to Amish country, where Book hides out as an Amish farmer--while also protecting the witness and his mother.
Of course, at the end there is one whopper of a scene when the corrupt cop & friends discover Book's safehouse.
"Witness" received several Academy Award nominations including Best Picture, and won for Screenplay, Cinematography, Sound, and Film Editing.

Ford at the top of his game
Some of the most powerful romances can spring up when both sides have to be restrained; here, the widowed Amish woman and the cop-in-hiding know that they come from different worlds, know that a relationship between them will not practically work, and so fill the screen with unresolved sexual and romantic tension.

Woven into the more grisly details of murder and police corruption are scenes of humor and beauty. Dancing in the barn to "Don't Know Much About History". Having to wake up at 4 a.m. to milk the cows. It's funny to see how the cop, John Book, tries to fit himself into Amish life the best he can. And it's very moving to see his growing love for the Amish woman who nursed him through a bad gunshot wound and has enchanted him with her character and beauty. The movie's climax is also riveting; it's not often that one sees gunfighting at an Amish farm.

Great film, poor quality transfer
"Witness" captures director Peter Weir's first exploration of the cultural clash between America's Amish community and modern society. We witness two worlds that collide and two people that can't bridge the gap between their two worlds despite their blossoming love for each other.

The story revolves around Samuel a little boy who has witnessed the murder of an undercover police officer, his mother Rachel (McGillis)and John Book (Ford) who investigates the murder discovering corruption, deceit and a conspiracy at it the heart of his department. After he discovers that his witness isn't safe, Book whisks them back to their Amish farm where he's forced to hideout as well.

One of Weir's finest films to focus on America, this so-so transfer looks grainy and has lots of compression issues. The transfer isn't a widescreen anamorphic transfer but is presented in that format (i.e., it's presented with the black bars at the top and bottom of the screen but the transfer isn't high definition). The picture occasionally comes across as soft and the rich use of color and light that vividly brought the film to life in theaters isn't well represented here. Hopefully Paramount will update this and remaster it the way it deserves to be done.

The extras include an interview with Weir obviously done around the time the film was made or first appeared on video and the original theatrical trailer. I would have expected a commentary track but since Weir isn't all that big on them to begin with, that would be hoping for too much.

A great film just a poor translation to DVD.

Comparing Witness: 1985 and 2004
As I write my title, it is weird to think this film is nearly 20 years old! How time flies! Anyway...I first saw this film when it first came out and I remember I really really liked it. I was 23 years old and not a Christian at that time. Now, I am soon to be 42 and have been a Christian for over 18 years. For 10 years of my life, I lived as a Mennonite (like Amish in many ways, but we drove cars, had electricity, etc.) I am no longer a Mennonite, and now I watch films again. I appreciate classic cinema very much, but recently have wanted to watch Witness again, to see if I would like it as much as the first time, and to see if I thought they portrayed the Amish correctly.

So, I watched it last night. It was interesting in that I remembered so much, even some small details about it. So it really did impress me that first time when I was young. This time, I enjoyed it, but I wouldn't say it is a film I would watch over and over again, as I watch some classic films. To see it once more was enough to just satisfy my curiosity about my memories of it.

I did feel they portrayed the Amish quite well, with the clothes and such. What they did wrong about the portrayal was that in no way would it be allowed for an Amish woman to tend to a wounded man who wasn't her husband, by herself in a room alone with him. It just isn't proper, isn't done. In reality, a man would have done that, or an older woman would have done it, with another woman there. I think the movie allowed the Rachel character to have way more "access" to a man alone than would be allowed in a real Amish or Mennonite community. I doubt he would have really been allowed to stay in the house. In reality he would have been placed in a home with a family who had a bunch of boys and he would work with them and the father, and not have all that time alone with Rachel.

I don't like violence...I knew that the bad part happened in the train station in the beginning, so we were able to fast forward that part. Also, we were able to fast forward the ending "shoot out" stuff. I didn't care for the bad language. The scene with Rachel taking her sponge bath, well when I was young and not a Christian, I found that very romantic. Now, I found it rather silly. A devout Amish girl/woman would not have just calmly turned around and let a man stare at her while unclothed. And later on, when she and he finally "meet" for the romantic moment, I found that sort of offensive. Why kiss out in the yard where anyone could see you? Eli could have easily looked out the window (a real Amish father would have kept better tabs on his daughter with a strange man around the place). I felt that scene was very much just an animal passion thing...sort of vulgar. Not at all romantic, truly loving or gentle. It seems people sure knew how to kiss and show romantic love a lot better in the old movies! And right before she went out there, she took her prayer veiling off. Which again, no Amish woman would do. But then she obviously was rebelling. There was that other time too, when she and John Book were in the barn listening to his radio, and she had it off then, and I am not sure why, for no Amish or Mennonite woman will go without it in front of people or outside the house.

The ending left me wondering...would Rachel just go ahead and marry Daniel? Would she really be happy with him? She really would have to repent of her sins with John Book to be truly happy. I also noticed that the film never showed a church service. Also, none of the Amish folks never seemed to care to tell John Book how to be a Christian. But then there are many Amish who are not born- again Christians, but just are "culturally Amish"...they live the way they do because they have always done so. These must have been that type of Amish. It did seem that Grandfather knew the Bible...he quoted some good verses when talking to the boy about the gun. That was good to see, yet sad that such violence had to even be witnessed by this child.

Oh, of course any film with Amish must have a barn raising scene, and this one did. Also, so many movies with cows mus have the scene where the city person doesn't know how to milk a cow. Of course John Book must learn. He makes a joke about "teats" in this scene, and grandfather Eli laughs at it, which again, I doubt a devout Amish man would do.

Well, these are my thoughts. It was interesting to revisit this film again. In closing, I would say it is an okay film for adults but I would not recommend it for children. ... Read more

Reviews (81)

Excellent sequel!
The story continues as Kirsty ( Ashley Laurence) is in a asylum after the events of part 1, she discovers that Julia ( Clare Higgens) from the original has been brought back to life. Pinhead ( Doug Bradley) and his Cenobite gang are back, only to have Kirsty play a deadly game in hell.
Highly entertaining and extremely graphic sequel to the original 1987 horror fantasy shocker. This one has fine performances and great gore effects, this DVD from Anchor Bay is quite excellent with it's THX Digital sound and picture. The Extras are very good including the director's commentary, Clive Barker has done it again with this macabre sequel that also includes Pinhead's origin. Be warned, this is definitely not for the faint of heart!
Also recommended: Hellraiser, Making Contact ( a.k.a. Joey), Hellraiser III, Hellraiser: Bloodline, Hellraiser: Inferno, Hellraiser: Hellseeker, City of the Living Dead, Re-Animator, The Evil Dead, Evil Dead II, Phantasm, Poltergeist, The Others.

3.5stars- A Worthy Continuation of Hellraiser
This is the only true sequel to the original Hellraiser. The cenobites return and all the main characters are back. In this movie, Kirty Cotton travels to hell along with a muted young girl by the name of Tiffany in an attempt to rescue her father's soul, yet finds a nice surprise waiting for her in hell in the form of the Cenobites, her stepmother, Frank, and a crazy doctor.

Full of vivid and violent imagery, Hellbound:Hellraiser 2 takes further in the world of hell by offering the ideas of Leviathan and the creation of the cenobites. It is not as gruesome or as fun to watch as the first Hellraiser, but it is as good as many horror sequels can get. The ideas brought forth in this movie have been with heated debate among Hellraiser fans. This is definitely the most involved into the inner workings of Hellraiser mythology.

Hellbound: Hellraiser 2 is indeed not for those with a weak stomach and I suggest it for fans of the original and of the series only. The atmosphere of this movie and the feel is one that cannot be denied. After this, the series went into a slump until regaining steam with Inferno. This remains a classic along with the original. It is certainly not as entertaining and perhaps a bit tedious, but that does not stop it from being a worthy horror sequel.

Everything is Flesh!
I really feel that the Hell Raiser "tale" should have been left on its own. Pinhead and Clive Barker's work is too precious to me, but then again, you can't help but want more!
So from what I understand, the lady that helped Clive with the original Hell Raiser movie, which is based off of the book: Hell Bound Heart. Was given premission from Clive to continue on with the Hell Raiser story (can't blame him, easy money). What she came up with Hell Raiser 2-4. The effects all seem to be from the same effects artists, at least for part 1, and 2. And the story, while dragging it out a bit too far, and into somewhat comic book proportions, including some failure to explain small details, like how Pinhead came back from death, since he was slain in hell, and if he could come back, then why couldn't he ressurect his minions, rather than slaughter a dance club, and create some kool, yet some what gimpy cenobytes such as CD Man.
Hell Raiser II remains most true in for to the feel and look of the original, with only a dash of comic book, and some VERY delightful creatures, beautiful women (pt 4), and interesting story line. The gore of course is great in the uncut version, and the show down is wonderful! "The Doctor Is In".

Bottom line, as much as I feel that the original should stand on its own, I am still very happy with the 1st 3 sequals. It is NO WHERE near as bad as the Candy Man sequals! :)

I'd give it a 5 star if part 1 did not exist.

The Best of All Time
If you are a horror movie fan like me, this is the movie for you. This movie has it all gore,flesh ripping, blood, guts and sex. The cenobites are the best character demons ever made for a movie. They are truly evil. I think this one was better than the first one only b/c it explores the unimagainable. it lets us into there world and we don't want to leave without seeing what happens. I mean lust, sex, violence,we are all interested in a certain way. This movie explains that the greatest treasure is not always what you may think. I think that 1, 2, and 3 are the greatest gore movies of all time. Storyline is terrific. I like the way these movies make you feel guilty and downright weird. They make you feel like PINHEAD is your neighbor. The scene on the bed and the doctors patient is the most disturbing deathe scene of all time. This movie will scare you and make your skin crawl and have you not wanting to solve any puzzles

not all its cracked up to be....
it is quite boring but apart from that it's okay i suppose.
it's not got pinhead in it very much, just like the first one. ... Read more

Description

What matters most in life, eh? Hockey, donuts and beer? A slab of back bacon? And did we mention beer? At least, that's what matters most to Bob (Rick Moranis) and Doug (Dave Thomas) McKenzie when they bring the goofy lunacy of SCTV's "The Great White North" to the great wide movie indoors. ... Read more

Reviews (128)

Beauty movie, eh?
I saw this movie in the theatre when I was a teenager, and I don't think I had ever laughed so hard in my life...the first fifteen minutes of this movie alone is absolutely unsurpassed in comedic cinema history.
>
Having said that, I realize that watching a movie when you're 15 and then watching the same movie when you're 35 can be two totally different experiences (this was REALLY driven home when I saw "Purple Rain" awhile back for the first time since high school...man, what was I THINKING?!). All the same, this movie is still funny as hell, and it still compares favorably with similar movies made these days; if you liked "Dude, Where's My Car?", you'll probably think this movie's a lot better (think of it as "Dude, Where's My Beer?").
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The DVD presentation isn't as bare bones as I had initially feared (even though a Rick Moranis/Dave Thomas commentary track in character a la The Hanson Brothers on the most recent DVD re-issue of "Slap Shot" would've been a nice touch); the SCTV skit reminds you of why these guys caught on so well and achieved their cult following, and the animated bit is okay (if "Clerks" could go animated, why not the McKenzie Brothers?).
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This is definitely a comedy "must-have", and I recommend basing a "Canadian Culture Night" party around this movie, with "Slap Shot" following it as a deserving chaser.
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Cheers, eh?!

Welcome to the Great White North, eh?
In 1983, Bob and Doug McKenzie (Rick Moranis and Dave Thomas -- but not the Dave Thomas from Wendy's) introduced the world to the mysterious land of Canada -- a place overflowing with beer and donuts. A place where everyone wears flannel and toques while they're playing hockey. A place where they use words like "hoser" and "eh."

When Bob and Doug try to scam the Elsinore brewery out of a free case of beer, they end up with jobs instead. There, they get stumble upon Brewmeister Smith (Max von Sydow), who's planning to take over the beer-drinking world with his mind-altering chemicals.

At the beginning of Strange Brew, the brothers announce that their movie was filmed in 3-B -- "Three beers and it looks good." I'd say that's pretty accurate. Strange Brew is a fabulously brainless movie -- full of bad jokes, bad acting, and bad effects. It's a must-see for any college student -- preferably after a long night of drinking. But if you're sober, be warned that it takes a special sense of humor to enjoy this one. Those with that special sense of humor, however (you know who you are), will love this one.

5 Burps
A magnificent achievement - ranks up there with Citizen Kane, Gone with the Wind, Lawrence of Arabia, Blues Brothers, and Monty Python's Holy Grail and Life of Brian.

But Strange Brew is better - cos it's about Beer! Right on eh! And if any of you Hosers out there don't like it, TAKE OFF EH!

Funny despite holes.
This DVD is a "must have" for those of us who loved SCTV. However, it's definately not for those who aren't. It's not that this isn't a funny and entertaining movie, it is. It's just that it's not a "standout" comedy. The core of the film, ie; characters, production, story are all there, but unfortunately many of the details are done halfa**ed. There are several parts of the story that don't tie together well, and certain scenes that either should have played out more or simply didn't fit.

The DVD production is also a disappointment. I agree with a previous reviewer in that the lack of commentary from Rick and/or Dave is unforgivable. Still, this is certainly a movie worth renting or watching on T.V.

Great movie should have great DVD
No commentary from Moranis and Thomas? Why buy a DVD that has no commentary, especially 20 years after the fact, especially for such a rip-roaring film? I'll just keep watching my lame VHS until a worthwhile DVD is released. ... Read more

Amazon.com

Judge Dredd is one of those movies that doesn't have a brain of its own, so it can only rip off a lot of ingredients from other, better movies. It's a mishmash of Blade Runner, Total Recall, and The Road Warrior, with a dash of Star Wars tossed in for good measure. As if that weren't enough, it's got Sylvester Stallone, who seems to be the only one in the movie who's in on the game and knows it's all a sci-fi scam. Like The Fifth Element a few years later, Judge Dredd depicts a futuristic megalopolis packed with crowded vertical overgrowth and rampant commerce, where anarchy reigns supreme. Violent "block wars" are fought by lawless citizens with machine guns, and Judge Dredd (Stallone) is one of the city's heavily armed policemen, given free rein to judge and execute the perpetrators of violence. But Dredd himself is subjected to judgment and swift justice when his own gun is identified in the murder of a prominent TV reporter, forcing him to do whatever he can to clear his name. Diane Lane plays his partner in crime-fighting and romance, and Rob Schneider provides juvenile comic relief as Dredd's streetwise sidekick. Impressive special effects are on vivid display, and the movie's fun for what it's worth. Lower your expectations and you just might enjoy it. --Jeff Shannon ... Read more

Reviews (59)

Judge Dredd Comes Through In Exciting Sci-Fi Yarn
Judge Dredd began life as a comic book character in 1977. Since then his world has expanded as a satiric metaphor for law enforcement and related issues.

It became natural that a movie would be made. The result is this exciting and gloriously garish looking spectacle reminiscent of the overrated Batman films, but featuring a better cast and script.

Sylvester Stallone is perfect at Joseph Dredd. In the world of law, he IS the law. Perps don't stand a chance in Mega-City with Dredd, let alone when he receives most potent help from Judge Hershey (Diane Lane). The film explores Dredd's super-hard persona and is quite effective is explaining why Dredd comes off as little more than a machine.

The villain in the film is Rico (Armand Assante), Dredd's biological brother. Along with a renegade member of Mega-City's ruling council, Judge Griffin (a very effective Jurgen Prochnow), and a Nazi-esque scientist named Ilsa (Joan Chen with great cleavage and a horrible haircut), Rico plans to populate Mega-City with a race of obedient clones. But first they must frame Dredd, the Judge who sent Rico to prison. The battle to clear Dredd's name and stop Rico and Griffin takes up the action in the form of several very eye-catching action set-pieces, notably an aerial bike chase reminiscent of the Star Wars films, the lightcycle chase in Tron, and the famed car chases of Bullitt, The French Connection, and The Seven-Ups.

The film's major flaw lies in the lame comedy of Rob Schneider. Given the film's otherwise excellent casting - Max Von Sydow and Mitchell Ryan in particular give superb performances - the presence of Schneider is especially injurious to the film.

Danny Cannon's direction is good - nowhere better than in the scene when Griffin learns to his horror that Rico has doublecrossed him with the clones. The scene includes a great bit of suggestive comedy; Rico bellows to Griffin that "I'm about to become a Daddy," then cuts to a smiling Ilsa, as though Rico's boast is literal.

Despite Rob Schneider, Judge Dredd is an entertaining sci-fi action yarn.

Bring on the Sequel!!!
I have to say that I was not familiar with any Judge Dredd comics, games or had had any other contact with the character apart from this movie so I cannot compare the character to other sources. Therefore, coming from someone that did not "know" the Judge prior to the film I have to say that the movie was FANTASTIC!
There are slight hints of Mad Max and Total Recall, so the movie falls into the action/adventure/science fiction type of category, and what a major hit this action-packed movie is!
Sylvester Stallone, Armand Assante, Diane Lane, and Rob Schneider, have truly outdone themselves with their performances, which are outstanding, making this movie one of the best of its kind. The actors' great talent and chemistry clearly shows, thus providing a film that can be watched over and over again. The plot, the setting, the special effects, the battles and the costumes are all wonderful!
In short, I would definitely line up to watch a sequel!

"I am the Law!"
The career of a Hollywood Star goes through various ups and downs. This excellent film came out at a point in Stallone's career when it was simply his turn to get reviewed harshly by the Hollywood community. He was getting older, his career had drifted considerably, and another Sly action picture was simply going to be a very hard sell. It took a much-underserved whipping when it was released.

As I say, that is a real shame, because Judge Dredd was one of the best comic book adaptations to ever make the cross into film. It perfectly captures the 70's/80's British comic book about a futuristic cop who reins supreme, given the power to arrest, judge, and execute wrongdoers in a world gone rampant with crime.

This was a big budget production, and the sets and special effects are magnificent. The story is extremely engaging, and it is packed with great action. The film really doesn't take a misstep throughout.

What makes the film a real treat are the supporting performances. Stallone himself delivers a perfect-pitch job as the Judge, nicely capturing all the stern dedication of the comic book, and as the film progresses, his character is beautifully and even touchingly rounded out. But I find myself remembering the lesser roles, such as Armand Assante as the arch villain, Rico, a man holding extreme power in his madness. When his temper flairs, everyone jumps back. The old veteran, Max Von Sydow, displays a pro's commitment in his portrayal of the aging Chief Justice Fargo, holding on to his power simply through a towering dignity. Diane Lane, Jurgen Prochnow, and Joan Chen are on hand to lend superior support, as well as Rob Schneider, who did a great job in giving the movie the touch of comedy needed to truly capture the original comic book. This film even has the great Scott Wilson on board as Pa Angel, a leader of a criminally mutated family that dwells in the "cursed earth."

Amazon reviews got it completely wrong. Their condescending review was typical of the kinder reviews given when the film was released. There is certainly no need to "lower your expectations" to enjoy this film.

You will do just fine if you come to this picture expecting great things.

--Mykal Banta

For in those days Judges walked the land....
The more I see this film after all the hype has died down, the more it grows on me. This is probably the best thing that Stallone ever did in my opinion. If you ever read the British comic book series you realize that he nailed the essence of the main character. I mean, Judge Dredd is a completely one-dimensional character, and Stallone still managed to bring him to life.

The entire movie, and the original comic book series, was based on the fact that the Judges were incorruptible. These are not just good lawmen; these are walking law books- THEY ARE THE LAW. They have to be, for they are not merely law enforcement officers, they are also judge, jury, and executioner. Only someone raised from birth to live the letter, essence, and spirit of the law could be trusted with this. Certainly, a mere human could not be trusted with such power. That is the fascination of a character like Dredd- he isn't human. Here is a man so completely identified with duty that there is no room for personal feelings. This is essential, for a Judge must be completely impartial and unswayed by personal opinion and feeling. A Judge judges the rich and powerful, and the poor and weak, by absolutely the same standard. That is why you can never write Dredd and the other Judges off as fascists- it is equal judgment for all in the name of the public good, of public survival, in an apocalyptic Cursed Earth. And God save the Judge that breaks his oath....

Max Von Sydow was also especially good as Dredd's mentor. I mean, if they could get an actor of his quality interested in this project then you know that he also saw something more to it. Playing off Stallone you actually see the one bit of humanity in the character. The scene where Sydow takes the last walk to bring judgment to the unjudged still chokes me up.

Sure, there is plenty of action and special effects here- good ones. They also managed stay fairly close to the details and characters of the original stories. But, I've slowly come to see that there really is more to it. Not bad for a project that originated from a comic book.

A sleek, juicy slice of Ultraviolence, served piping hot!
Who couldn't like this slick, sleek, happily depraved and utterly self-contented violent romp in the near future? It's got Sly Stallone in a fine, full-bodied role as the fascistic Judge Dredd---and hey, He's the Law! You got a problem with that? You got objections, Perp? He KNEW you'd say that! (sound of Perp being knocked unceremoniously in the head by Judge Dredd's side-arm).

Let me count the ways I love Judge Dredd:

1)It's all Action, all the time---and it Looks so Good! And best of all, it's action done by a competent, experienced crew: Adrian Biddle ("Aliens", "1492", "Thelma & Louise") for cinematography, and set design by Peter Young, who did the look for "Batman" and "Sleepy Hollow".

2)It's got Armand Assante and Jurgen Prochnow as crazed, Machiavellian evil villains (Assante crazed, Prochnow Machiavellian)!

3) It's got veteran uber-actor Max von Sydow as Chief Justice Fargo, and boy the guy looks hip and happening in a trenchcoat with a big super-duper hand cannon!

4) It's got a violent Mega-City where the angry inhabitants don't have backyard barbecues, they have block wars!

5) It's got an angry War Robot designed to control crowds---with extreme prejudice! Oh, it likes to pull peoples' heads off, too.

6) It's got angry unfinished Clones, all of whom are imperfect copies of Assante!

7) Aspen, Colorado is a penal colony! What a great world!

8) It's got starlet action! A villainous Joan Chen in tight leather hotpants! It's got the genetically perfect Diane Lane as the unfortunately named Judge Hershey (I don't know. Don't ask.)!

9) It's got a periodically amusing Rob Schneider and gratuitous Balthazar Getty! It's got a family of inbred religious cannibals who make the family in "Texas Chainsaw Massacre" look like pikers---and the razor-toothed Number 1 Son has what appears to be a minute-timer embedded in his skull!

10) Finally, it's just all around fun: the chase on Lawmasters through the neon heights and aeries of Mega City One has to be seen to be believed, and it is far more enjoyable than anything in the Star Wars prequels. And in addition, it's a pretty fine adaptation of the Judge Dredd graphic novel series.

So get past your need to see 'serious' cinema, sit back, and pop "Judge Dredd" on the hopper. Besides, He's the Law----and failure to appreciate the subtle glories of this film is a Violation, Citizen---Punishment? You don't want to know. ... Read more

Reviews (142)

Witty HELLBOY is fun, rollicking adventure
Based on the Dark Horse comic, HELLBOY is probably one of the more unusual superhero films around today. In a prologue set in World War II, the U.S. Army foils a (...) plot to open an other dimensional portal and unleash monster fiends upon the world. However, an infant demon slips through into our world. Taking pity on him, government scientist Professor Broom raises the tyke as his own. Sixty years later, we find the demon all grown-up and fighting paranormal menaces for a secret U.S. government agency. However, Hellboy finds himself battling not only the evils of his past, but his own feelings for Liz Sherman, a fellow freak with pyrotechnic powers.

Ron Perlman is perfectly cast as the demon with a blue-collar attitude towards his job. In many ways, he comes across as your local garbage man or plumber with his world-weary view towards the many monsters he faces. His snappy comebacks are especially amusing. Perlman's costume and make-up also reinforce the image with his floppy raincoat and filed-down horns, which resemble goggles more than anything. Selma Blair is touching as Liz Sherman, the somewhat sullen object of Hellboy's affections, while John Hurt brings an added amount of warmth as the elder Professor Broom. Rupert Evans is solid as the young FBI agent who is introduced into Hellboy's world. As the evil Rasputin, Karel Rodin underplays the part, making him a somewhat bland bad guy. Doug Jones, with the voice of David Hyde Pierce, makes the fish-man Abe Sapien a truly fun creation. Lending solid support is Jeffrey Tambor as Hellboy's antagonistic boss. Director Guillermo del Toro does a wonderful job keeping the film at such a brisk pace that we easily get swept up in the story.

Despite having a lower budget than most films of its type, the special effects are definitely better than average with snaky haired monsters providing menace and a complaining zombie half-corpse providing laughs. HELLBOY is a fast-paced, fun film that definitely will draw in fans of the cult comic, while the irreverent attitude will appeal to action fans in general. It doesn't matter if you're familiar to the comic or not, this film is definitely a enjoyable time, and as such, is one that I definitely recommend.

Great Casting
One of the better Marvel Comic / Movie crossovers of late with a powerhouse performance by Ron Perlman in the title role, who delivers the character which such panache, you can forgive the other disappointing aspects of the movie. A typical pulp storyline finds the birth of Hellboy by a Nazi ritual interuppted by well to do professor figure who he comes to know as father, and then we are moved hence 60 odd years. Hellboy is now on our side thankfully, but we are then only to find (shock horror) that the original protagonists have re-emerged to finish their aim of World destruction yada yada yada. Top heavy on the SfX as you would expect, but the success lies in the movies persistent, and almost self effacing script; that refuses to try and overlay a topical, or politically correct message, as so many other movies of the genre have in the past. The film seems to know it's implausible and often silly beyond belief, but the acting is perfectly executed. Any moments of stale screen time are soon enlivened with some beautifully delivered lines, again by Perlman, who almost single handedly carries the whole picture. A lot of fun here for young and old, and should appeal to those outside the 14-22 demographic for whom it seems to have been intended for by the director. Your intellect won't be tested too much, but if you know that going in, you should enjoy this movie. Deserves 3.5 stars, but not quite 4.

Stylish fun
"There is a place, a dark place, where ancient evil slumbers, waiting to be awakened," a character warns in the first minutes of "Hellboy." And if you think that ancient evil is going to continue slumbering through a film with a title like "Hellboy," you must be dreaming. Awaken it does -- on two fairly spectacular occasions -- and to defeat it, the world must call upon a guy who could squash Spider-Man with one sweep of his rock-hard right hand, a scarlet-skinned avenger who makes the Hulk look not-so-incredible.

Hellboy, as readers of the Dark Horse comic know, is a half-man, half-demon and, as played by Ron Perlman, he's a whole lotta fun to hang around with. Although he's got brute strength to spare, his fireproof hide hides a tender side: He vainly tries to sand down the pair of horns that keep threatening to sprout out of his broad forehead, he consumes basins of chili and mini-mountains of nachos in one sitting, and he enjoys the company of ... kittens.

The dream project of the gifted Mexican screenwriter and director Guillermo del Toro ("Mimic," "Blade II"), "Hellboy" initially appears to be a flashy mishmash of elements lifted from "Raiders of the Lost Ark," "X-Men," "The Matrix" and other fantasies. But stick with it. Somehow del Toro gives the movie unexpected rhythm and spirit; don't be surprised if you get caught up in this weirdly affecting tale about a superhero bedeviled by his need for acceptance and companionship.

The screenplay by del Toro begins in 1944, as the Nazis and the diabolical Grigori Rasputin (yes, the Mad Monk himself) combine science and black magic to open a portal to Hell. The results are dire for all concerned, and in the midst of the mess a miniature red menace manages to cross over from the dark side.

Adopted by paranormal expert Professor Broom (John Hurt), the little creature grows up to be Hellboy, the secret weapon of the Bureau for Paranormal Research and Defense, an organization dedicated to stamping out monsters whenever and wherever they appear. They're a low-profile bunch. Instead of the supersonic jet the X-Men travel around in, the BPRD team disguises itself as a band of trashmen.

In the rare moments when he's not fending off attacks by the sinister forces of Rasputin (Karel Roden), Hellboy attempts to deal with new BPRD trainee John Myers (British TV star Rupert Evans), who has managed to win the trust of Hellboy's dreamgirl, Liz Sherman (Selma Blair), a sullen soul cursed with pyrokinesis: Whenever her temper flares, everything goes up in flames. The bizarre love triangle is delightfully well-played, with Hellboy fuming and fussing as he stalks John and Liz. "When am I ever gonna get a girl?" Hellboy complains. "I drive around in a garbage truck."

"Hellboy" also introduces Abe Sapien, an intellectually inclined gill-man/psychic who speaks with the voice of David Hyde Pierce; an undead assassin with a horribly mutilated body, veins full of dust and a clockwork heart that keeps him running; and Sammael, a hell-hound capable of resurrecting itself (or quickly reproducing copies of itself) each time it seems to be near death. Avid readers of the comics will be pleased to know creator Mike Mignola served as a visual consultant here, and he's at least partially responsible for the film's sleek, dark, glossy/grungy look.

Certainly not everything works as well as it should. The humor, which often gives scenes a welcome edge, sometimes gets perilously close to the thudding one-liners that eventually sent Arnold Schwarzenegger into exile in the California governor's mansion. An insufferable bureaucrat (Jeffrey Tambor) who abruptly disappears from the storyline -- a plot point that's ridiculed during the end credits -- is an extraneous annoyance that slows down the action and should have been cut before shooting began.

But for every little flaw or misstep, "Hellboy" manages to come up with something unexpectedly off-the-wall to compensate for it, such as the inclusion of 1940s chanteuse Vera Lynn's "We'll Meet Again" on the soundtrack, or a fistfight that somehow continues, even as the participants are hurtling down an elevator shaft.

Just to let you know
A 3-disc edition of HellBoy is coming out in November. It'll have 15 minutes added into the film, a new commentary track, and a few other extra features and bonuses. So you might want to wait on getting this if you'd rather get the full version. Sheesh, when are studios going to quit doing this? It's bad enough there're going to be 4+ other releases of Kill Bill...

Hellboy
As far as Comic book movies go, this was extremely well done. Del Toro did a marvelous job in bringing this to the big screen. Ron Pearlman was superb in the title role as Hellboy, just as Michael Keaton was to Batman. The plot was great, taken right from one of Mike Mignola's stories. This is pure escapism at it's best (as all comic book movies are). Just enjoy it for what it is. If you want to go further, just head to Borders and read a copy of any of Mike Mignola's Hellboy graphic novels for free (there are about 6 available). In closing, I really enjoyed the film and will buy the DVD, although I'm hoping for a directors cut extended version (I'm hoping they'll do one). Like I said, just enjoy it folks! ... Read more

Reviews (41)

Underrated?
I admit I have had a soft spot for this movie ever since I saw it during its theatrical run when I was 8 which is why I give it four stars instead of three. But I've always felt it is a fun action-adventure film with a great cast and fantastic vistas of the Yugoslavian countryside. Critics have lambasted it as being a highly inferior sequel to one of the classic war movies of the 60's, and maybe some of that criticism has some merit. Yet "Force 10 from Navarone" as viewed on its own merits without the comparisons to "Guns" is not too shabby. A straight-foward action story of an Allied force consisting of two British commandoes (Robert Shaw and Edward Fox), an American Ranger (Harrison Ford), and an escaped American prisoner (Carl Weathers) trying help Yugoslavian partisans blow-up a bridge to foil a German offensive. It's not Oscar material, but it is fun and definetly not as bad as the critics claimed.

Great WWII action movie!
First off, I enjoy anything having to do with World War II. I remember seeing this movie as a kid before I saw the original "Guns of Navarone." I was flipping channels last night and saw that "Force 10" was on. I watched it and remembered how much I enjoyed it the first time.

Not only does this film focus on a remote battlefield (remote in the sense that it's not a Normandy or anything you might have seen in "Patton"), but it provides an exciting story that the viewer just can't forget. After so many years, I fondly remembered Carl Weathers' knife fight with that big guy (the name escapes me, but he played the character Jaws in two Bond films), the amusing explosives expert Miller, and all the crazy twists and turns that took the commandos to their final objective - destroy a dam to destroy a bridge. (What I never understood, though, was why didn't the Germans just have their armored and infantry divisions cross the dam rather than face hostile fire on the bridge from the Partisans!).

Anyhow, the film is great. They just don't make movies like this anymore. Harrison Ford and Robert Shaw (and the rest) make a great team, best shown when they walk cavalierly away from that ticking bomb that's about to explode in the dam! Yes, a great war flick that I highly recommend and rank right up there with the best.

"We're Talking About the Wrong Target!"
I first saw this movie as an in-flight movie while flying from Copenhagen to Seattle in September 1979. A sequel to "The Guns of Navarone" (1961) that starred Gregory Peck who played Keith Mallory and David Niven as Dusty Miller, Mallory and Miller return to action with Robert Shaw as Mallory and Edward Fox as Miller who have been assigned to a new mission in Yugoslavia to kill a Nazi agent posing as a Yugoslav partisan. Here they tag on with Force 10 led by American Army Ranger Lt. Col. Mike Barnsby (Harrison Ford) whose mission was to blow up a bridge to prevent the Nazis from crossing into the region defended by the partisans. The sequel was planned for filming back in 1967 with Peck and Niven playing their respective roles. The novel by Alistair MacLean was released in 1968, becoming his 17th million-copy best seller, but due to creative and economic concerns, the movie version was stalled. By 1977, the plans for filming commenced. Because of their ages, Peck and Niven would not star in the sequel. The following year the movie was released with Shaw, Ford and Fox. Sadly, Shaw did not live to see the film's release when he died of a heart attack August 28, 1978 in Tourmakeady, Ireland at the age of 51. Former Oakland Raider Carl Weathers plays his role well as the fiery Sgt. Weaver who merely "invited" himself on the mission, not knowing what was going on at first. Franco Nero plays Capt. Nikolai Leskovar, the Nazi agent Mallory was assigned to kill. Alan Badel plays the partisan leader Maj. Petrovich who assigned his daughter Maritza (Barbara Bach, also known as Mrs. Ringo Starr) as a partisan agent to spy on the Nazis and their Chetnick allies at a camp where they were operating. Richard Kiel plays the Chetnick leader Capt. Drazak who dupes Force 10, leading them to the camp where they would fall into the hands of the Germans commanded by Maj. Schroeder (Michael Byrne).

Like "The Guns of Navarone" the sequel is action-packed from start to finish from the stealing of an R.A.F. Lancaster at Termoli Air Base in Italy to the destruction of a dam that washes away the targeted bridge with several million tons of water. This is a great movie for those who love action dating back to World War II.

force 10 uncut is not for my kids
I love this movie. I have seen it many times on television but when I rented it I was suprised to see that this rated PG movie had full frontal female nudity. I was lucky that I wasn't watching it with my kids. I really don't understand how a pg movie can have this but its there. Just a warning in case any parents are considering it for a family war movie like I was. After all war is a good family history lesson.

very mediocre
Passes the time, that's all. Notable that the Partisans (Communist anti-nazis) are portrayed as purely heroic, while the Chetniks (anti-communist anti-nazis) are shown as purely evil. In fact the film portrays the Chetniks as in essence a German auxiliary force--very very few historians would agree with that idea. But then, if you're filming on location in a Yugoslavia under Marshall Tito's communist dictatorship I guess you have to toe the local ideological line. Hey, it's only a movie, right? ... Read more

Reviews (54)

A facinating, literate film!
While most movies that are released during the summer lack sophistication, great acting, and a plot, this film has them all: in spades. Endlessly interesting and complimented by John Barry's haunting score, "Enigma" delivers one cinematic pleasure after another.

The story, set in WWII, and based on real events, centers on Tom Jehrico (Dougray Scott), a brilliant codebreaker at Blenchly Park, who cracked the Nazi Enigma code. But now that code has been changed, and supplies that the British need for the war are in jeopardy. Not to mention the lives of the crews on those ships. Complicating matters is the disappearance of his ex-lover,Claire (Saffron Burrows), which has cast the shadow of suspicion over Tom as the possible traitor. Teaming with Claire's doudy roommate Hester (Kate Winslet), the two race to crack the code and unmask the traitor before hundreds of lives are lost. All the while, the mysterious Wigram (Jeremy Northam) seems to always be following them. . .

My summary of the plot simply doesn't do it justice. This film must be seen to be truly appreciated. Scott is great as the haggard, brilliant mathematician whose heart has been been broken, and Winslet is wonderful as the witty and underappreciated Hester. But the real standout is Jeremy Northam who steals every scene he is in, as the very dapper, and very suspicious Wigram.

The dialogue in the film crackles thanks to a great screenplay by Tom Stoppard which was based on the bestselling novel by Robert Harris. Do yourself a favor and check out this example of smart adult cinema.

A facinating, literate film!
While most movies that are released during the summer lack sophistication, great acting, and a plot, this film has them all: in spades. Endlessly interesting and complimented by John Barry's haunting score, "Enigma" delivers one cinematic pleasure after another.

The story, set in WWII, and based on real events, centers on Tom Jehrico (Dougray Scott), a brilliant codebreaker at Blenchly Park, who cracked the Nazi Enigma code. But now that code has been changed, and supplies that the British need for the war are in jeopardy. Not to mention the lives of the crews on those ships. Complicating matters is the disappearance of his ex-lover,Claire (Saffron Burrows), which has cast the shadow of suspicion over Tom as the possible traitor. Teaming with Claire's doudy roommate Hester (Kate Winslet), the two race to crack the code and unmask the traitor before hundreds of lives are lost. All the while, the mysterious Wigram (Jeremy Northam) seems to always be following them. . .

My summary of the plot simply doesn't do it justice. This film must be seen to be truly appreciated. Scott is great as the haggard, brilliant mathematician whose heart has been been broken, and Winslet is wonderful as the witty and underappreciated Hester. But the real standout is Jeremy Northam who steals every scene he is in, as the very dapper, and very suspicious Wigram.

The dialogue in the film crackles thanks to a great screenplay by Tom Stoppard which was based on the bestselling novel by Robert Harris. Do yourself a favor and check out this example of smart adult cinema.

Interesting fictionalization of the Bletchley Park story
This is a story loosely, very loosely, based on British intelligence's efforts to crack the Nazi encryption codes used during World War II. The screenplay was adapted from the novel by Robert Harris by playwright Tom Stoppard whose cinematic credits include Brazil (1985) and Shakespeare in Love (1998). Dougray Scott stars as Tom Jericho who is decidedly not Alan Turing, the troubled genius who spearheaded the amazingly successful effort that allowed the Allies to know in advance what the Nazis were up to. The true story is one of the most fascinating to come out of WWII.

This fictionalization is also a very good story. Michael Apted's direction gives us a nice feel for the era and for the type of people involved, intellectual and somewhat nerdish, creative people who were as valuable to the war effort, or even more so, than the soldiers in the field. Dougray Scott does a nice job of depicting a mathematician who has gone a little crazy because of an abortive love affair with a beautiful intelligence clerk, Claire Romilly (Saffron Burrows). He is sent away after cracking the Nazi code, but when the Nazis institute a new code he is returned from the nut house and pressed back into service. Still haunted by the memory of Claire, it is not clear that he is of any use. When he discovers that Claire is missing, the subplot begins with Jericho and Hester Wallace (Kate Winslet), once Claire's roommate, sleuthing through top secret intelligence files looking for clues to determine what happened to Claire and whether she was a spy or not. What they discover along the way of course is each other. Watching them is Wigram, a rakish secret service agent with a heart of pure darkness, played with mystery and an arrogant ruthlessness by Jeremy Northam.

Billed as a thinking man's thriller, it is that. However, the plot suffers from two main problems: Claire can only be seen in flashback (I would like to have seen more of the woman who said, "Poor you. I really got under your skin, didn't I?"), and the action of the film must take place within a few days time, which means that Jericho must simultaneously crack the new code, find out what happened to Claire, and romance Hester. I don't think Apted's direction successfully solved these problems. His concentration on a realistic "feel" to the movie merely masked them.

Nonetheless, one can appreciate the action and remain fully immersed even while not following all of the plot's intricacies. The juxtaposition of the tall, blonde player of men in the person of the beautiful Saffron Burrows with the short, full-figured, Nancy Drew-like Hester in the person of the beautiful and gifted Kate Winslet was a stroke of casting genius. They are fascinating to watch. The contrast between the sensitive and vulnerable Jericho and the worldly and immoral Wigram provided an interesting balance. All four of the leads were excellent.

But see this for Tom Stoppard, who might be called "a thinking man's" screenwriter. His gift for writing witty and authentic dialogue based on research and a finely trained ear is part of what makes this an interesting film well worth seeing.

A modern classic.
Man, Dougray Scott looks sexy and intense in this movie! I loved him and the beautiful, swan necked, glamorous blonde Saffron Burrows. She's like a walking dream in all that war and gloom. The movie is fair to her character, and that's something you don't see every day. Those in the picture who look down on her are viewed with comtempt, as they should be.

I like the spy game and I think all the twists and turns are all very unexpected and keep you on your toes.

I do think, though, that they didn't have to turn Kate Winslet into the opposite of beauty just to prove that she can or to make the blonde venus more striking. Dressing her up like that distracts the viewer from the movie, by begging us to focus on how well she's pretending to be ugly - which may have been the very vain motive indeed behind that decision. You know, Kate not wanting to be seen as just a sexy actress and all that. No one denies her talent. One can be unglamorous without being horrid and in this case it just attracts the wrong kind of attention.
Absolutely worth watching.

Good intentions gone awry
During WWII, a motley crew of men were recruited in Great Britain to intercept and translate the Nazi Enigma code. Scott plays Tom Jericho, one of the decoders who falls hard for an over-lipsticked Burrows and breaks down when she rejects him. Having returned to his decoding job after a mental-health hiatus, Jericho has only four days to translate a new Enigma code, thus saving a fleet of Allied convoy ships and presumably winning the war. Winslet dons a pair of Harry Potter specs to play plain-Jane Hester Wallace, who helps Jericho decode the new Enigma.

That the Enigma decoders came from all walks of life is reiterated throughout the movie. In fact, Enigma devotes much of its time to telling instead of showing; Scott had to memorize what must have been pages of script in order to narrate the development of Enigma and its decoding process. Northam, squinting his way through his role as a classist, sexist Intelligence dandy, also snidely lectures on the democratic demographics of the decoding staff. Similarly, Winslet frequently reminds us how women got the short shrift for their work in the war effort-a message with good intentions, but delivered rather obviously. This word-heavy tendency is accompanied by conventional plot devices and a series of twists and turns that require still further explanation from the characters.

Interestingly, the one subtle message in Enigma deserves more attention; specifically, the Faustian repercussions of the Allies' collaboration with Joseph Stalin. That the British kept these repercussions hushed up for fear of the Americans' reaction speaks volumes about who, ultimately, was calling the shots during the war. ... Read more

Reviews (22)

Portrait of an Old Lion and a Tired City
For whatever reasons, this film never has received the recognition and appreciation I think it deserves. It was directed by Louis Malle and stars Burt Lancaster as Lou. (In Atlantic City, first names are all you need to know about those around you.) Malle carefully develops three different story lines: Lou's long-term affair with Grace (Kate Reid), a mobster's widow; Lou's relationship with Sally (Susan Sarandon) to whom he feels both a paternal and romantic attraction; and his symbiotic relationship with Atlantic City. Both he and the city seem long past their prime. During the course of the film, Sally also becomes a widow. Credit Malle and his excellent cast as well as cinematographer Richard Ciupka for creating and then sustaining an atmosphere of deterioration and menace. Special note should also be made of John Guare's screenplay. He, Malle, Lancaster, Sarandon, and the film were all nominated for an Academy Award. (FYI, The respective winners in 1980 were Bo Goldman for Melvin and Howard, Robert Redford for Ordinary People, Robert De Niro for Raging Bull, Sissy Spacek for Coal Miner's Daughter, and Ordinary People.) Toward the end of his career, Lancaster accepted a series of roles (including this one) which enabled him to explore and reveal subtle nuances of character and personality which much earlier roles neither permitted nor required. My own opinion is that his performance as Lou is his greatest achievement as an actor.

However, in certain respects, Atlantic City itself really is the dominant character. I recall brief visits to it in the 1970s. The city then bore little resemblance to what it has since become, at least in the casino area. Of course the city then bore little resemblance, also, to the elegant seaside resort it once was 75 years earlier. My guess (only a guess) is that Malle's work in this film -- especially his establishment and enrichment of precisely appropriate tone and atmosphere -- had a significant influence on later films such as House of Games (1987), Miller's Crossing (1990), Billy Bathgate (1991), Road to Perdition (2002), and The Cooler (2003). As I said, just a guess.

One final point: I think it is a disgrace that the so-called "special features" provided with the DVD version are limited to "Theatrical trailer(s)" and "Widescreen anamorphic format."

Atlantic City: Beautiful Movie with Plenty of Floy Floy
Atlantic City is one of my favorite films of all time. Usually one when makes lists of their favorite films there are many big budget blockbusters on them but not me. Atlantic City is the best movie made of its year and was vastly ignored as far as awards go. Its director, Louis Malle gives us a wonderful story of passion, lost memory and pipe dreams. Everywhere there seems to be decay, ruins, buildings being torn down, people deparate for a drug score, people holding on to the past, unable to cope with reality. John Guare wrote one of the smartest, funny, film scripts of all time, and each time I watch this gem of a film, I find more verbal riches, more warth, humanity, great and subtle humor, and surpise. Burt Lancaster, as Lou the small time hoodlum and numbers man, is a wonder to behold; how many actors have this great a performance so late in a long career and this performance ranks with his best? Susan Sarandon's performance is great also, showing beauty, tenderness, toughness, and sadness. The suppoting cast, like the great Kate Reid as the widow of "Cookie" Pinza, steal scenes left and write. When asked if Reid was a Miss America contestant Lou replies "She was more like Miss Pinball Machine." Malle directs the vilolence well but doen't overdo it-his mobsters are scary and believable but well played. The cinematography is wonderful and there is a burnished light around the locations, the buildings and the air full of the salty spray of decadence. The most beautiful scene, Lancaster watching Sarandon bathe her upper body in lemon juice is magical, as in the ritual she turns on an opera tape and is watched and coveted my an aging man. The scene is never lurid but just the opposite-sexy, bright and full of warmth,the camera going back and forth between Lancaster's eyes and his goddess getting the fish market smell where she works off and is just as stunning as the rest of the film. Rediscover this film if you have never seen it, for Louis Malle was a world class film director and I feel this is his best film in English, a complex and beautiful masterpiece no wrecking ball will ever destroy. Highly recommended.

Small Charming Movie
Screen legend Lancaster and a then up and coming but still mostly unknown Sarandon are great together in this affecting melodrama about an aging tough guy who never amounted to much and a hopeful card dealer who is going nowhere fast. He has one last adventure and she faces the grim facts of life once and for all. Their sad, washed out lives mirror the sad washed out Atlantic City. If you can't make it in Las Vegas, try Atlantic City and, if you can't make it in Atlantic City, you might as well pack it in. Nominated for a bunch of academy awards but won nothing in an excellent year for movies.

A pearl of great price
Burt Lancaster only got better with age and this has to be one of his shining roles, as a two-bit gangster (Lou Pasco) long past his prime, unwittingly involved in what would be his final deal. Louis Malle captures Atlantic City in its decline, telling a wonderful story of misplaced souls who struggle to find their place. Susan Sarandon turns in a memorable performance Sallie Matthews, who soon becomes Lou's love interest as she washes away the smell of brine from her shoulders in one of the signature scenes in the movie.

Malle constructs an elaborate story dealing with the gangsterism of Atlantic City past and present. Lou finds himself the reluctant paramour of Grace, the widow of a former crime boss, who Lou worked for. A relationship Malle never loses sight of as he develops the relationship between Lou and Sally, taking it to its fitting conclusion.

Malle has such a fine eye for detail, which made him one of the best directors in cinema. He brings his French sense of realism to Hollywood, playing off American gangster films in the same way Truffaut did, but creating what I think are more captivating films. Atlantic City is a pearl. It is so well rounded and lustrous that one can watch this movie over and over again and be enchanted each and every time.

One Of Louis Malle's Best!
As of late I have been watching the films of Louis Malle. I have watched some movies for the first time and others a second time around. What I've noticed about Malle is the way none of his films seem to have a distinctive feel to them. He seems able to direct every movie in a different style that is relatable to it's story. Each film carries it's own personal tone to it. Watch "Au Revoir Les Enfants", "My Dinner With Andre", "Damage" and this film. I don't notice any similarities in Malle's style of directing. And I guess that's a good thing.

"Atlantic City" is a film about lost hopes and dreams. The movie's most interesting character I feel is Lou (Burt Lancaster). A small time hood who remembers Atlantic City in the "old days". He claims he at one time knew all the famous gangsters. Lou is at an age in his life where he feels regret. He thinks where is his big payoff? For the past 40 years he has been Grace's (Kate Reid) bodyguard\boyfriend. And now seeks something more. He want to be one of those people who feels "important". He wants money and beautiful women around him. He wants to live it up in his old age.

The other main character is Sally (Susan Sarandon). A woman who is now on her own after he husband left her for her sister, who is now having a baby! Sally wants to become a dealer in a casino. She feels she has a lot to look forward to in the future. Things seem to be shaping up nicely for her and with enough time may get her life back on track.

What I like so much about "Atlantic City" is how Malle seems truly interested in these characters. This is one of those movies where the strenght lies not within the plot, but the people. Its the characters who make the movie because we can see ourselves in them. At one time or another I bet we have all felt a bit like Lou. I'll freely admit I have at times. We have all felt down asking ourselves when will our luck turn around. When will we hit the jackpot? For Lou it will come sooner than he thinks. But, Malle doesn't rush the movie. He lets the movie flow at its own rhythm. He really cares for these people and is willing to take the time to tell their stories. And in the end "Atlantic City" is a touching story that most people should find enjoyable.

At it's time of release "Atlantic City" was showered with awards and nominations. The movie went on to earn 5 Oscar nominations including "Best Picture". It won 7 Cesars awards, including "Best Picture" and it also won the Golden Lion award for "Best Picture". And Roger Ebert named it one of the ten best films of 1981!

I don't know if it was in some way meant as a joke or if I personally just got a kick out of this but Wallace Shawn has a brief cameo in the movie as a waiter. In a movie Malle made that same year "My Dinner With Andre" Shawn had a role in that movie. That movie was set with two people in a restaurant having dinner. This time around, Shawn is now the waiter. I don't know why but I just thought I'd mention this.

Bottom-line: One of the best films of it's year. Director Malle does a wonderful job of telling the story. The characters seem real enough where we give them our feelings. A strong touching movie. ... Read more

Reviews (9)

Very Good
The relationship between the Vatican and the Third Reich has been a very hot topic recently, as new documents and scholarly works have served to ignite a massive debate. Could the church have done more, did they aid the Nazi's covertly, was Pope Pius XII a coward in the face of Hitler? These are all relevant questions that deserved to be answered. Into the debate steps Amen, an effective drama directed by Costa Gavras, which, while looking at the actions of the church hierarchy during the war, concentrates more on the low level relationship, which I consider much more fascinating. The movie is an interesting look at morality and responsibility in the most troubling of times.

The movie's protagonist, interestingly enough, is SS officer Kurt Gerstein, played by the subdued Ulrich Tukur. Gerstein is a chemist by trade, and is promoted because of his ability to create extremely effective "anti-vermin" pesticides, such as forms of Zycklon-B. Gerstein is stunned to discover, as he stares into a gas chamber, that his formula's are being used for far more than animal extermination. The realization changes his life, and Gerstein, a devout Catholic, gives the information and more to a well-connected Italian priest, Father Riccardo. Riccardo's family is close to the Pope, and the two unlikely allies feel they can effectively move the church against the Nazi regime. They have a precedent, considering that a Catholic uproar ended the SS sponsored extermination of the mentally handicapped. However, the two soon find that the church is hesitant to challenge Germany, for numerous reasons, including their hatred for Stalin's Russia, their anti-Semitic attitudes, and their fear of decreased power in Nazi dominated Europe. It's a wait and see attitude that is getting millions killed. Both men are locked in their moral duty, even as those they trusted fail them, time and time again.

Amen is a stylish film that uses the rich history of Europe to lend a foreboding atmosphere to the entire situation. The Vatican shots are amazing, as are the Berlin and, horrifyingly, the camp scenes. The acting is good all around especially Tukur's portrayal of the tortured SS officer, unsure of where to turn. While it may make some leaps of faith that are factually baseless, it does shed an interesting light on those times. It's ending is a haunting one, as was history's verdict. A good film.

solid movie
This was a solid movie. The acting was good, but understanding the dialogue was hard at times. It showed how both protestant and catholic leaders did nothing. It also shows how fearful everyone was of hitler's power. The Vatican clearly was portrayed as being more concerned about preservation than any eternal moral action. the movie coincides nicely with cornwell's book "Hitler's pope.".....as winston churchill said, "all that is needed for evil to persist is for good men to do nothing."

Interesting Aspect of Holocaust History
This beautifully filmed moralist story of an SS Officer and a Catholic priest is based on the play THE DEPUTY. It starts out slowly, so conditioned have we become to Holocaust recreations, but the human conflicts eventually set this work apart and keep the viewers' interest in this woefully underreported aspect of WWII history. Fine performances, direction and production design highlight AMEN. The audio soundtrack and score, however, are not up to par with the rest of the film... the recurring "train" theme is irritating and amateurish; the rampant voice-over dubbing is also distracting and often difficult to understand.

As far as the bonus materials found on the DVD, there isn't much there...but the "Making Of" documentary has several interesting moments.

A Powerful Lesson we May Still Need To Master
As far as films dealing with the Holocaust are concerned, I do not believe that AMEN is in the same category as LIFE IS BEAUTIFUL or SCHINDLER'S LIST. I say this not so much because of the film's quality, but due to the fact it is really a morality tale about what happens when people who are basically good fail to see obvious evil, do little to nothing about it, and in the end may even be aiding the evil that so opposes good. The Holocaust is merely the backdrop, and the failure of organized religion to oppose the evil of Holocaust is history's best example to demonstrate what happens when people do not oppose evil.

At the beginning of the film, people of the Christian faith seem to be doing the right thing. People with mental and physical disabilities are being sent to the death camps, and churches, particularly the Roman Catholic Church boldly speak against the atrocity. Yet when the same thing happens to the Jews, the vigilant churches remain indifferent at best, and in more cases than not, silent. The more the churches realize the atrocities, the more deafening the silence becomes.

Amen breaks new ground as far as the discussion is concerned. Much has been made about the silence of the Vatican in general, and more specifically Pope Pius XII's failure to speak. The film could have used the easy answer, namely fear that the Vatican would be destroyed, and would therefore destroy the Church as well. While this is mentioned in the film, it really does not seem to be the major reason for the silence. The choice for the Church was either to side with the Allies, which included Russia, a Communist nation. The Communists were viewed as more evil since Communists opposed religion. The Axis powers were just as evil as Stalin, but at least they allowed the practice of the faith as long as the Church was not critical of the Nazi Regime. This seems to be the more accurate reason for the silence.

Many people who will see this film will see the Catholic Church in a less than positive light. I'm not certain this is accurate. The character of Fr. Riccardo Fontana is one of the two heroes of the film; he is Catholic, and actually stands for what is best in the Church. Keep in mind, the greatest Christians, Catholic and non-Catholic, are more often than not the heroes who stand alone, and the heroism of one who stands alone is probably a more powerful example of faith than any religious officials. We see in the character of Fontana one who makes a morally good choice and acts on it as opposed to the hierarchy, who made a bad moral choice of choosing what they believed was the lesser of two evils. Fontana is actually a Christ figure and his actions teach us how we should be acting. Also, people viewing the film should keep in mind that while the Catholic Church is the Church that is viewed as wrong, none off the other Christian denominations did all that much to stand up to the evil either. If Dante is correct about the hottest spot in hell being reserved for those who remain neutral, and silence is considered neutrality, many are in deep trouble.

Indifference.
Based on a true story, *Amen* is an important, and heretofore unexamined, angle in cinema's ongoing grappling with the Holocaust: the complicity of the Catholic Church with the Third Reich's "Final Solution". Important BECAUSE the subject hasn't been examined in film. Precise, too; the movie is concerned with the murder of the Jews in particular. Early in *Amen*, we see the German Catholic Church put a stop to the euthanizing of what the Nazi Party calls "unproductive citizens", e.g., people with Down's Syndrome and, indeed, any who suffer from mental illness. The local archbishop threatens the Nazi bureaucrats with exposure to world opinion, and thunders indignant, logical arguments from the pulpit ("'Unproductive!' And what of injured soldiers returning from the front? Are they 'unproductive', too?" etc.). But the thing is, these mentally ill were baptized as Christians. The JEWS, on the other hand. . . . Director Costa-Gavras gives them an unlikely champion: an SS officer and chemist Kurt Gerstein (Ulrich Tukur) whose creation of a cleansing agent, designed to filter contaminated drinking water for the troops at the front, becomes a primary tool in the mass-murder campaign by the German government. The chemist, a devout Protestant, is horrified when he discovers to what uses his invention is being put. He is eventually brought to a concentration camp, and is more or less forced to view a gassing through a peep-hole on a gas-chamber door. Thankfully, WE'RE spared the sight. Indeed, we "see" almost no atrocities: Costa-Gavras assumes we're intelligent and moral enough to already know that genocide is evil. (Obviously a faulty assumption, considering that this movie received almost zero attention from audiences and critics. We clearly need piles of bodies displayed with Barber's *Adagio for Strings* swelling in the background, and a Schindler-like hero played by a robust and good-looking Irishman.) Instead, he shows us the hideous paperwork, the incessant criss-crossing of the cattle-cars (empty one way, full the other way) . . . the whole damnable mechanical PROCESS of the Holocaust. Gerstein decides to be the "eyes and ears" of this process, and even tries to slow it down in his fumbling way by hysterically claiming that THIS batch of chemicals is leaking from their canisters and must be destroyed, THAT batch won't be ready for months, and so on. Meanwhile, having learned that the Church managed to stop the murdering of the mentally ill, Gerstein appeals to the local diocese. Upon informing the local big-wig prelate that the Nazis are systematically wiping out the Jews, the prelate muses suspiciously, "Are you even Catholic?" But he DOES get the attention of a fictional young Jesuit, Father Riccardo (played with agonizing understatement by Mathieu Kassovitz). Riccardo becomes determined that Pope Pius XII should learn of the atrocities . . . and is fiercely checked by the Church bureaucracy and finally by the Pope Himself. *Amen* savagely attacks the Church in general and the Pope in particular: it's rather telling that Costa-Gavras could find no single figure to base Riccardo upon, but had to create an amalgam from various (and doubtless feeble) voices in the Church hierarchy at that time. Some may complain that Riccardo is merely a symbol of Good, and that another character in the film, known only with chilling anonymity as "The Doctor", is just Evil personified. But I think enough ambiguity is provided by Gerstein himself: we like him, we identify with him, we sympathize with his disgust, we encourage his attempts to alert the world, but we also feel uneasy that he remains in his position as SS Lieutenant. What IS the truth about Gerstein? We'll never truly know what was in his heart; we only know what he documented about the process of the gassings, after he was incarcerated after the war. Was he trying to condemn his murderous colleagues, or merely hoping to absolve his own continued participation? Or both? Perhaps Riccardo and the Doctor, both fictional, represent his own divided soul. ... Read more