Reviews (239)

A First-Rate Thriller... With a Heart
The premise for this first-rate thriller involves a New York fireman and New York policeman father and son duo who work together to save lives in both the future and the past. FREQUENCY is based on the idea of shifts in reality occurring in the present as a direct result of communications over short wave radio between a police detective here in this present time (Jim Caviezel) and his father in the past (Dennis Quaid) during times of heightened solar flare activity. 

This movie works because it is internally consistent, even as it stretches one's concept of what can be possible. I enjoyed watching this movie on several levels, as the father and son get to know each other by talking on a ham radio during a spectacular display of northern lights... and race to stop a killer before he strikes again.

I especially enjoyed the way the police detective in the film describes how it feels to have several different memories after reality shifts.  In one scene, John Sullivan (Jim Caviezel) talks with his dad, Frank Sullivan (Dennis Quaid), on a ham radio. John describes how he recalls both the memories of how his father died in a burning warehouse and also the memories of how his dad rescued a woman and emerged unscathed from that same fire. John says in amazement, "I remember both... at the same time. It's like waking up from a dream and you're not sure what's real. I remember you being here, but I also remember when you weren't."

This film is especially meaningful for anyone seeking insight into that phenomenon when your keys, purse, or sock aren't where you know you left them. The bonus features on this DVD are also highly enjoyable and include excellent scientific commentaries on the subject of solar flares, the aurora borealis, and string theory.

Very well-done 80's style time travel movie
In many ways, this movie is a variation of the concept the movie "Back to the Future" explored, with a slightly more deeper focus on the character-relationships between the father and the son character. Perhaps it is the presence of Dennis Quaid that makes it feel like an 80's film. Or maybe it is the changing-past-altering-future time travel concept. Nevertheless, it's a fun concept to explore, the idea of being able to communicate with somebody from the past through a radio, and thus warning that person in the past, thus altering the events of the present. This is basically what happens when John, a police detective, finds himself communicating with his presently dead father in the past through a HAM radio and manages to prevent his death. As a result, it somehow results in a set of serial murders, of which John must try to solve (with a help of his dad). The relationship between the father and son are quite endearing and the mystery thriller and sci-fi elements are an interesting bonus.

New Line dropped the ball!!!
All the other reviews will explain the plot etc, what I will say is that It is one of my favorite movies along with my wife's.

It leaves you smiling at the end , One other thing in an Interview Dennis Quaid said New Line dropped the ball because they did not promote it well enough...........I could not agree more.

Frequency (2000)
Director: Gregory Hoblit
Cast: Dennis Quaid, Jim Caviezel, Andre Braugher, Elizabeth Mitchell, Noah Emmerich.
Running Time: 118 minutes.
Rated PG-13 for language and violence.

Dennis Quaid and Jim Caviezel both give fine performances in this quirky science-fiction drama that combines "Back to the Future" and "The Field of Dreams". The film opens in the year 1969, with fire-fighter Dennis Quaid first introducing the game of baseball (specifically the Amazin' Mets of that season) to his son, John. Fast-forward to thirty years later, in which John (Caviezel) is a lonesome, washed-ed ex-college baseball great turned cop who stumbles upon his deceased father's old ham radio.

One night, John uses the radio to connect with a man in the area, later discovering that he is talking to his father in the past. When the father avoids death in a fire that was supposed to take his life, John realizes that he can use this uncanny communication to help him with a serial killer murder case. The two join forces to change the course of history in order to save the lives of the killer's next victims.

Clever premise certainly works for the most part, although there are some twists that do not seem to fit. Hoblit uses the theme of baseball as the connecting link between the father and son, which is an overdone aspect in modern film; however, the script is smart and swift, making "Frequency" a film worth the while.

Don't Miss This One Almost Everyone Including Me Missed
With a little extra spending money I picked up a few DVD's 'to take a chance on', hoping for one gold nugget. Well, this one is just that. I have watched it several times in a few months, and have made a point of lending it out to my friends simply saying 'trust me, you'll enjoy it'. It has come back each time with positive to glowing reviews, and a smile showing each person did enjoy it.
The script is well thought out! Tell me how many times you've watched a movie that seemed to have been roughed out on a napkin the night before they started filming? The story moves forward with... a couple surprises/twists that fit perfectly into the storyline, but doesn't overshadow the identification with and the developement of the characters. Great casting. I have been a Dennis Quaid fans for over a decade, and Jim Cavieziel was a pleasant discovery for me.
I missed this in the theatre. Not too many people went to see it. Man, I might have missed it altogther had I not had a few dollars to spend... and in this case, that would have been a bad thing. You'll enjoy it, trust me. ... Read more

Amazon.com

This screen adaptation of John Irving's novel A Prayer for OwenMeany was appreciated much more by audiences than by the majority of disapproving critics. Irving's books havefared only moderately well on film, and while The World According to Garp garneredcritical praise, The Hotel New Hampshire was waiting in the wingsto counteract the fanfare. Simon Birch is one of those nostalgic movies--determined to view the past in rose-colored hues--despite the fact that itsprotagonist, a dwarf named Simon Birch, is wholeheartedly unsympathetic. Thefilm opens weepily, with Jim Carrey as the adult version of thefilm's main character and narrator, Joe Wenteworth (played as a youth by theserious young actor Joseph Mazzello). He's mourning at the grave of his bestchildhood friend, Simon Birch, with whom he had bonded instantlybecause both were misfits--one a dwarf, the other illegitimate.The deck is stacked from the beginning, especially when the camera dwells onJoe'sluscious mom, Rebecca (Ashley Judd), who refuses to reveal the identity of Joe's father, which in turn urges Simon and Joe to embark on a quest todiscover Joe's paternity. In a plot point that resembles The ScarletLetter, the tide of fate turns on the "immoral" mom just as she'son the verge of finding true love with a decent fellow (played by OliverPlatt). Simon Birch ultimately descends into crudeness, though it asks theaudience to continue to engage with its crass lead character. By the end, thefilm is reduced to drivel, cliché, and melodrama to tug our heartstrings intosubmission. All the things that should havebeen the film's focus--guilt, self-loathing, and redemption--remain elusive. --Paula Nechak ... Read more

Reviews (215)

Uplifting, Challanging Film - made me laugh, made me cry
"Simon Birch" is an outstanding story of 2 young boys growing up under difficult circumstances which have them labeled as outsiders. Simon, a dwarf whose parents wouldn't seem to mind if he simply disappeared, holds onto his belief that God has a special purpose in store for him (to be a hero)and unashamedly lets everyone know about it. Joe, his best friend, wants only to find his real father, whose identity his mother refuses to reveal.

Apparently, this is not a faithful adaption to the book, but I found it to be very enjoyable. There are many laugh out loud moments (Simon in church; the Christmas play) and some real tear-jerkers (Simon on the bridge screaming "I'm sorry" in his shrill little voice). The movie is well cast with both young actors doing a terrific job, as does Oliver Platt as the admirable father figure to the boys. Ashley Judd is simply stunning as the strong, independent single-mom with a heart of gold.

The movie says some interesting things about faith, belief and serendipity, but its not likely to convince you if such things do not interest you in the first place. For example, Simon is shown as having more faith than even the local minister, yet he frequently curses and is quite enamored of a young classmates's breasts. I imagine this could come across as either true to life (we can have the faith of a child but still be imperfect) or very off-putting and hypocritical. I thought the film examined some interesting points about God and belief while being very entertaining and uplifting.

Highly recommended! Also check out "My Dog Skip" for another nostalgic look at childhood and "The Jerk" for another take on having a "special purpose".

Sapping and predictable at it's very finest!!!
Definitely forget what the critics say about this movie and see it for yourself! This is a terrific movie that is beautifully filmed and is full of wonderful characters. Simon Birch's facial expressions alone make this film worth seeing. This is a movie that will have you laughing hysterically one minute and reaching for the box of Kleenex the next. I have seen this movie at least a dozen times and still, when I walk by the TV, and my kids are watching it again for the 20th time, I find myself sitting down to watch just a few minutes of it only to find that I cannot pull myself away. This movie still touches me as much now as the first time I saw it. Besides the incredible main character, Simon, this film is blessed with wonderful performances from Ashley Judd, Oliver Platt, Joseph Mozzelo and Jan Hooks, to name just a few. Jim Carrey as the narrator is also a nice surprise. This movie will leave you with a warm feeling that very few can. Definitely sappy and predictable at it's finest.

A Must Have for Every Family Movie Collection
My children and I laughed a cried throughout this whole movie.

With so much sex and violence out there, it's hard to find a good family movie...
This is a great movie. It's well acted, has a great plot and a great message of love in every form.

You have to get this movie.

Who is this drastically amputated Owen Meany intended for?
It's not readily apparent who this film should appeal to. There are cute kids but adult language, it's a bit nostalgic, but far less effective than "A Christmas Story", much more tragic than comic, and has a heavily foreshadowed Hollywood-esk ending.

If you're seeking a thoughtful adaptation of "A Prayer for Owen Meany" by John Irving, Simon Birch will disappoint. The film only covers the first half of the book (and with much less humor than the novel). All but the essential characters and plot points are absent and for unknown reasons all of the character's names have changed. All the political and coming-of-age themes are absent in the film, and even most of the religious angles.

The acting is well done. The kids are sincere and the only oddly cast actor seems to be the faithless Reverend. The movie's ending won't be a highlight for fans of the book, however it might satisfy other viewers. My guess is even they would sense something lacking in the film.

Unbelieveable
Like most of the people who read the book first, I think this movie could not have sucked more. It sucked, sucked, SUCKED. If you have ever read the book, save yourself the trouble. If you've never read the book, well, read the book. This movie sucks. ... Read more

Amazon.com essential video

Adapted from the controversial novel by J.G. Ballard, Crash will either repel or amaze you, with little or no room for a neutral reaction. The film is perfectly matched to the artistic and intellectual proclivities of director David Cronenberg, who has used the inspiration of Ballard's novel to create what critic Roger Ebert has described as "a dissection of the mechanics of pornography." Filmed with a metallic color scheme and a dominant tone of emotional detachment, the story focuses on a close-knit group of people who have developed a sexual fetish around the collision of automobiles. They use cars as a tool of arousal, in which orgasm is directly connected to death-defying temptations of fate at high speeds. Ballard wrote his book to illustrate the connections between sex and technology--the ultimate postmodern melding of flesh and machine--and Cronenberg takes this theme to the final frontier of sexual expression. Holly Hunter, James Spader, and Deborah Unger are utterly fearless in roles that few actors would dare to play, and their surrender to Cronenberg's vision makes Crash an utterly unique and challenging film experience. It's rated NC-17, so don't say you weren't warned! --Jeff Shannon ... Read more

Reviews (142)

This is SO wrong...
What 'Deliverance' did for kayaking down remote rivers out in the middle of nowhere, and 'Jaws' did for going to the beach, 'Crash' does for head-on automobile collisions! And just when I thought there were no more weird sexual fetishes to go 'round. People getting off to car crashes and accident scenes? Yeesh-it's definitely one of the most perverse concepts I've ever been exposed to. But then again, writer-producer-director David Cronenberg is infamous for making (or in some cases re-making) movies that contain surreal & disturbing elements ("Naked Lunch", "Scanners", the new version of "The Fly", "The Dead Zone", et. al.). Here, his realization of concepts from the book this flick is based on helped make 'Crash' into a disquieting, rather than erotic, movie experience. A sex-scene-filled NC-17- rated feature that's more a turn-off than anything else is definitely a rare cinematic find. And even though the 'crash' fetish was something that was imagined for this film (or, to be more precise, imagined for the book that was- well, you know...), I'll never look at those highway accident-scene rubberneckers in quite the same way ever again!

Of course, if you're too uptight to watch the extra-naughty version, you can select the somewhat-more-prudish R-rated rendition. Rounding out the bonus features are a restricted-audience trailer (never knew they made those!), text mini-bios & filmographies of the marquee cast & crew, and- well- that's about it. But it's not like you're gonna watch this for extra features anyway, now is it...?

'Late

Very good
This is a very unusual film. The basic plot involves a group of people who are turned on by car crashes thus allowing a series of sex scenes invovling scrapes, bruises, leg braces, scars, etc. If you are disgusted by the thought of that description, don't see this movie because you would probably (a) not understand the film or (b) be completely disgusted by its graphic sex, violence, and car crash related gore.

The film is very well made. Throughout most of the film, a dark atmosphere is kept giving the film a sort of surrealistic and noirish quality. The actors take the film very seriously and never play it for humor or take the film's subject matter lightly.

By taking a sexual fetish (car crashes) that nobody has, the director (David Cronenberg) has allowed himself the freedom to explore the realities of such a fetish. Had he chosen to direct a film about something that people actually are turned on by, he could have disappointed many by inaccurately portraying this.

This film is not for everyone. Some may consider this merely an excuse to show graphic sex scenes boardering on pornography (the reason why the film is rated NC-17 - the R rated version was created for Blockbuster since they do not carry NC-17 rated films). As realistic as the sex may appear in some scenes, it is soft core, just like any other R rated film.

If you can appreciate this film, you will see nearly flawless acting from James Spader, Holly Hunter, and Elias Koteas. The film is expertly directed by a master (Cronenberg, director of such masterpieces as "Naked Lunch" and "Dead Ringers"), and based on a novel that has become over time a cult/underground favorite by J. G. Ballard. If you have an open mind, see this film and appreciate it, otherwise seek out any of Cronenberg's other films (except "M. Butterfly").

Wow! Trully Unforgettable.
Soon after a head on car crash James Ballard (Spader) is introduced to a world of fetishists who find arousal in mixing raw sexuality, the mangling of human bodies, and the twisted steel of a fresh auto accident. Their fetish soon becomes a suicidal obsession with death and the ultimate pleasure.

Based on the novel by J. G. Ballard, Crash was one of most controversial movies of the 1990's. Exploring the psyche of those who extract pleasure through risk and eroticism through automobile accidents. James and Catherine Ballard are a married couple whose sex life has been reduced to recounting tales of mutual infidelity to turn each other on. James is eventually involved in a car accident that leaves one man dead. After his long rehab he meets the other survivor of the crash Helen (Hunter). They soon realize that the accident was the biggest turn on of their lives. Helen introduces James to a group, led by Vaughn (Koteas) who share in their fetish. To up the ante the group engage in more and more dangerous accidents to heighten their own arousal.  

Anyone familiar with director David Cronenberg's work should know what to expect from this movie, only here it seems that Cronenberg has license to go as far as possible with the message he was trying to get across about the human animal and our twisted psyche when it comes to what we find erotic. His experiment with Crash was met with much controversy at the time of it's initial release in 1996. While many will find the film repulsive and/or sick, I happen to find it a rather genius character study. A film that succeeds in challenging the viewer by showing them a different side of the human spirit and hopefully pointing out their own sick little perversions. One thing is for sure, whether or not you "like" the movie you have to admire the balls it took to make such an anti-Hollywood film that went against everything "politically correct." What's sad is that a challenging, though provoking film like Crash couldn't be made today and if it were the people making it would most likely be jailed. 
 
Cronenberg injects the film with a dreamy, trance-like quality that sucked me in from second one. That along with the low key score created a menacing atmosphere. The acting from the always brilliant James Spader is top-notch as always. Elias Koteas is one of the most underrated actors out there, he's brilliant here as well. Holly Hunter and the lovely Deborah Unger are also strong in supporting roles. This is what happens when a great script (written by Cronenberg), a great director, and great actors merge to create a truly original and daring film.

Much can be said about Crash, but the bottom line is: GO SEE IT! Rent the NC-17 version if your video store has it and explore this movie with an open mind. Whether you love it or hate it, Crash will challenge, make you think, and hopefully enlighten. Now days when crap films are recycled over and over like a commercially friendly PG-13 pop can, it was great to see a film that didn't treat the viewer like an idiot. Check it out! 

Pitiful; a major turn-off. What was Holly Hunter thinking?
One of the worst movies I've ever seen. No redeeming qualities whatsoever. What was Holly Hunter thinking? Trust me; leave this one behind. It's a pitiful excuse for a movie.

You either GET IT or YOU DON'T
No, there are no limits to human stupidity. I don't know where to begin...Crash opens up like an after-dark Cinemax movie (which made me cringe). However it foreshadows the promise of a strange sensuality between metal and skin, something that James Ballard and Remington slowly find it as a kindling to stir up actual emotions to their boring, orgasm-less sex lives. Ballard meets Vaughan (played by Koteas) and he descends into the strange, twisted and druggie like world of Crash. Koteas is the real star of the movie here...James Spader and Holly Hunter merely serve as vehicles of boredom and a sense of being lost, finally finding what's missing in the oddest of places, while Koteas really drives the point across, really gives you an idea of what this underworld is like. He's slimy, creepy and insane, yet plausible.

This movie is not for everyone. There are a heavy amount of explicit sex scenes--and I only use the word explicit when I mean explicit. These scenes aren't porn. You watch these scenes, and they add to the mood. They add to a creepy, dirty feeling that's set on you from the beginning of the movie. And that's where Crash takes place...in the underworld. These scenes are done to enforce the mood. It's eerie. If there's one bad thing to say about Crash is that you'll go through over an hour and a half without hardly cracking a smile...and if you do, it's probably because the movie feels so good at parts that you just can't help yourself. This movie is far, far, far away from being trash. Everyone has their own opinion. Some opinions are just plain wrong. ... Read more

Amazon.com

"Give me what I want and I'll go away," demands the black-eyed, stocking-capped stranger Linoge (Colm Feore), who appears in a quiet island community on the verge of the worst storm in decades and brutally bludgeons an old lady to death. Tim Daly, the town sheriff and voice of reason and moral strength, locks up the quiet madman, but the deaths pile up as Linoge acts them out from his cell like a murderous mime pulling psychic strings. Stephen King, whose original teleplay is his best work for thescreen since The Stand, transforms the sleepy burg into a Peyton Place of guilty secrets and criminal activity ripped from under a blanket of small town normality while the white-out of the snowstorm completely cuts them off from civilization. Director Craig R. Baxley nicely maintains an icy tension while the waiting game goes on, perhaps a little too long, before Linoge finally reveals "what he wants" and the drama turns into a struggle for man's soul in miniature. The more ambitious special effects and set pieces sometimes disappoint but are more than made up for in King's knack for turning the mundane into the macabre (the children's song "I'm a Little Teapot" has never sounded more sinister) and a few brilliantly realized sequences, the best of which occurs when townspeople are literally yanked out of existence while watching the storm. Storm of the Century is one of the most successful translations of King's brand of horror to the screen. --Sean Axmaker ... Read more

Reviews (132)

A Must For King Fans; For The Others, Read On...
At the outset I'd like to say that King's fans are gonna love this one. It's a bit slow, long, but it's spooky, scary, terrifying, nightmarish, and it delivers an unforgettable message at the end. Vintage King.

Now, for the rest...

A weird guy shows up in an island in Maine (King's favorite State), and kills an old lady for no real reason. But he doesn't go away - he waits to get arrested. In this case, however, the real prisoners are the residents, some of whom are murdered in vicious ways by the stranger, with the help of his ominous-looking cane.

Colm Feore is terrific in the role of the evil man, while Tim Daly does a decent job as the town grocer and Constable. The really cool thing about this film is that you never notice the length (close to 4 hours!), as scene after scene captures your imagination and tortures your soul.

Small town mentalities and moralities are exposed for what they are - cheap, narrow, selfish, and deadly. Each character has (or has had) a past (or present) that they'd never like the world to ever know. But the stranger (the Legion) knows EVERYTHING about everyone.

As secrets come out, and as hidden conflicts are brought out into the open, one can see the characters change faces. When the main objective of the stranger is revealed by him during a town meeting during the course of the storm, it's time for soul-searching and morals-testing. None emerges unscathed, except Tim Daly and his wife, though in completely opposite ways.

The ending is definitely not satisfactory, and seems forced to deliver some sort of closure to the viewer.

In summary- Positive things:

1. Good, strong character development.

2. Powerful storyline.

3. Intelligent, relevant screenplay.

4. Good photography.

5. Excellent acting by most.

6. Wonderful music score.

Negative things:

1. Length (some people will definitely groan!)

2. Unsatisfactory ending.

3. Colm Feore is not used very well.

4. Slow beginning, with a few scenes of really bad dialogue delivery and acting.

Finally A King Film You Can Watch ...
...without wanting to smash your tv-set.

This movie had to be good, because Stephen King himself wrote the screenplay - which was an original screenplay and no adaptation from one of his story. King wrote this sinister little tale especially for ABC television and I have to admit, that beside the fact that it is a good story for a cold night, snow piling up outside, it is a very good mvie as well. I loved the actors, the filming and just every minute of the 4-hour mini-series. I even watched the whole thing just listening to Stephen King's commentary (although I skipped the parts director Craig Baxley commented) - the commentary was as good as the movie itself, because it was not some poor strawhat talking about something, but Stephen King doing what he can do best: not commenting, but telling. Stephen King gives very delightful inside-information on the making of the movie and talks about works related to this movie, how he came across the idea for the story (it was partly influenced by a play by Friedrich Dürenmatt King had a part in when being in High School), how he tried to work it out, stuff like that. So this is a very interesting bonus for every Stephen King fan: you get a very good movie and a very fine commentary by Stephen King, with all the information and all the amusing details 'n' extras.

Story's Rough Cut: Small town off the coast of Maine, Little Tall Island, the setting of "Dolores Claiborne" - "life on the island is different from the life on the mainland." Stranger makes the small township aware of his evil presence by murdering an old woman, Martha Clarendon, and therefore arrested - "because I choose," as the stranger, André Linoge, claims. Linoge knows all the dirty little secrets of the clean-shirted islanders and he wants what he inevites, unless he will not go away. What exactly Linoge wants, you have to find out for yourselves, sorry. It is worth finding out, believe me, just this one time! ;-)

Let me finish with a praise for the movie by some newspaper I do not remember, "it is a high-voltage, spine-tingling shocker, which has been called one of the best King films ever!" It sure is.

Don't waste your time
I really like Stephen King, but this has got to be one of his worst works ever. EVER. The plot is intruiging, but the movie is sooooo long. It's like, what, five hours? The movie pulls you in with an interesting begining, and keeps you watching with a so-so middle, but there is really no point. There is so much unneccesary information and there are so many pointless scenes. Yeah, like, seven people or so die, but there isn't really anything all too exciting about it. After a while, this movie becomes quite annoying, and you just want to see what the guy wants, and what he wants is rather idiotic, and is very anti-climactic. So, in my opinion, don't waste your time watching this.

"Gimme what I want and I'll go away."
Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away. Gimme what I want and I'll go away.

Was that annoying? Now you know how I felt going through this film.

He wants a kid. That's what he wants. He wants a kid. There, I just saved you three hours of agonizing torture.

Good movie, loses it at the end
I watched Storm of the Century yesterday, with low expectations. However, it did exceed them. At 4 1/2 hours long, you need to have a lot of patience with it. The movie maintained a good element of mystery, but about two hours in the movie you'll want it to speed up. It has its quick gasps and scares, and the usual King twistedness. The movie also made some good Roanoke references. The most dissapointing part of the movie was the end. The solution to the problem was the one you expected so, it lost the element of mystery towards the end. The movie is not really scary as you watching it, but in the dark, some scenes of it come back to you. I would see it if you have a decent amount of time on your hands and nothing else to do. ... Read more

Amazon.com

Released almost exactly 11 years after Clint Eastwood's Unforgiven, Kevin Costner's Open Range proved yet again that the Western is the classic American genre. While it lacks the thematic impact of Eastwood's masterpiece, Costner's first film since 1997's ill-fated The Postman returns the actor/director of Dances With Wolves to the open prairies of America--in this case the free-range frontier of 1882--where legal "free-grazing" cattle drives were falling prey to empire-building land-owners. In the wake of territorial murder, free-grazing cowboys Boss (Robert Duvall) and Charley (Costner) seek vengeful justice against the ruthless rancher (Michael Gambon) who threatens their law-abiding survival. A feisty ally (the late Michael Jeter, in his next-to-final film role) and a doctor's sister (Annette Bening) offer support during climactic shootouts, masterfully staged with the shock and suddenness of real-life gunfire. Rich in character development and thick-hided humor, this handsome production redeemed Costner's directorial career with a well-told story (by Craig Storper, based on Lauran Paine's novel The Open Range Men), flawless performances, and stunning Canadian locations. --Jeff Shannon ... Read more

Reviews (251)

Robert Duvall is at his best in Open Range.
Kevin Costner needed to tighten up the script and his direction of Open Range, a good Western that could have been much better if it were a half-hour shorter. The best comparison I can think of for this film is Shane, one of the greatest Westerns ever made. Open Range has the same breathtakiing scenery, classic confrontation between good and evil, fine acting by all the players, realistic action sequences, and excellent supporting music. These merits are enough for me to recommend the film.

Robert Duvall as Boss Spearman, a free-range cattleman who is moving his herd over territory claimed by a local land baron who wants to rid the land of these itinerant cowboys, was wonderful, as usual. Michael Jeter, who died soon after the film was made, is at his best as the owner of the local livery stable. Both these actors may well be nominated for an academy award for their performances. Kevin Costner returns to form as Boss Spearman's hired hand Charley Waite. Like Alan Ladd in Shane, Costner was a gun for hire before signing on with Spearman. When it comes time for the showdown, Costner, like Ladd, is at his very best. Annette Bening is given a supporting role as the sister of a local doctor. She isn't given much to work with, but makes the best of it nonetheless.

Unfortunately, Open Range wanders from one scene to the next and is particularly slow going as Costner and Bening develop their relationship. Costner needed help in the editing room, not only to make sense of the growing love interest between his character and Bening's, but also to add a sense of urgency to the plot development. When two of Boss Spearman's hired hands are attacked and killed or wounded, we know that Boss and Charley are going to take the law into their own hands and bring old fashioned western justice to the guilty land baron and his men. We wait too long for the final showdown. When it comes, it is as good as it gets, and some might say, well worth waiting for.

If it is not Academy Award material, Open Range is still good enough to recommend with the noted reservations.

Not since Dances w/wolves has Costner film looked this good!
This Movie review is predominantly about this 2-Disc DVD Collection Edition with a few editorial (personal observations) comments.

Kevin Costner's passion is truly in the American Western. He has proved it with one of the greatest Western films "Dances With Wolves" (Top 100 AFI (American Film Institute) American film of last 100 years (circa 1998).

Now with "OPEN RANGE" Kevin Costner has again returned to his great film making with another soon to be Western Classic. I loved this movie!!!! A great story, fantastic breath taking panoramic cinematography (Alberta, Canada), an outstanding supporting cast with Robert Duvall as "Boss", Annette Bening as "Sue", Michael Jetter as "Percy" and Costner as "Charlie", with plenty of drama, action and true romance. (My wife loved it too!!)

Summary of this DVD set; Disc-1 - Open Range Feature film in 2.35:1 Ratio Widescreen Anamorphic (automatically adjusts to any television size) Format. And Enhanced for 16:9 Home Theatre HDTV's. (what a magnificent Picture & dynamic DTS 5.1 Digital Surround Sound). Audio Commentary w/Kevin Costner (very informative). Disc-2 - Special Features; "America's Open Range" a 60 min historical journey back in time to the open range of the 1800's narrated by Kevin Costner (very enlightening/informative), "Beyond the Range" Directors Journal about the making of Open Range, 10 Deleted Scenes w/optional Kevin Costner commentary, StoryBoarding: Open Range and Music Video Montage.

This is a must see Classic Western especially the 20 minute climatic gun fight (better than the gun fight at the OK Corral). Rent it, Buy it, I guarrantee you'll be watching this movie again and again. The Direction, Cinematography the Storyline the Cast are the best!!! To bad the general public missed this movie the first time around. Here's your chance to watch/own this Classic Western DVD set !!! Don't miss it. Enjoy.

Horrible!!
Words cannot describe how bad this movie is. Harlequin romance novels have better dialogue, plot, and character development. The only way to watch this movie is on "MUTE". The scenery is beautiful. The costumes look great.

Open Up To A Modern Western
Kevin Costner has brought the simplicity of an old western movie into a new age and done a fantastic job, both as an actor and as director.

The storyline for this film is a bit bland and basic but the intensity of acting and the scenery make up for the lack of substance in the story. "Open Range" takes you into a real western setting where one could see for miles and miles only what God made and be humbled by it. The gunfight is fantastic and so much more than any found in the good old western movies.

Robert Duvall is perfect as Boss, an old grubby cowboy with heart. Opposite Duvall you would think Costner would pale in comparision but he fits in almost as perfectly as a man with a mystery past. Annette Bening is subtle in her role, as a doctor's sister, but no less important to the film as Costner and Duvall. But the most impressive character in this film is by far the western scenery and the reality of nature's wrath out in the open range of 1882.

Classically constructed western
Two veteran free-range cattlemen (Kevin Costner and the incomparable Robert Duvall) must enter hostile territory to get medical attention for the wounded boy who works for them (Diego Luna). The town is under the thumb of an unscrupulous cattle baron who despises free-rangers and has no compunctions about killing them (Michael Gambon). This is a classic Western in which the two protagonists are compelled by their moral code to face danger instead of retreating from it. Costner and Duvall have magnificent chemistry in this film--Duvall as the moral conscience of the pair, and Costner as the former killer who is haunted by his past and longs to be able to see himself as a good man. Although director Costner has had a somewhat checkered career, he demonstrates here that he is a man with true talent. The final gunfight is a real highlight and not to be missed. ... Read more

Description

After meeting under extraordinary life-and-death circumstances, a Chicago police officer (Lopez) and a lost soul named Catch (Caviezel) fall in love. While uncovering the truth about Catch, she is forced to deal with the secrets of her own past. ... Read more

Reviews (96)

The best movie I've seen in ages
If all you know of Jennifer Lopez is what you've seen and read in the tabloids and movie magazines, you'll be pleasantly surprised by this movie. Ms. Lopez has talent. I had only seen her in The Wedding Planner, where she was cute and appealing, but in Angel Eyes, she shines. I watched the movie twice the night it came on TNT (it was a double play), taped it, watched it every night that week, and finally ordered it.
Ms. Lopez portrays Sharon Pogue, a tough, yet vulnerable Chicago cop who is shunned by her family, despised by the criminals she tries to help, and hit on by her fellow officers.
Jim Caviezel is compelling as Catch, a man traumatized by an incident he can't remember, yet he has a sense of humor, and a warmth that has been missing from Sharon's life. Together they give each other the strength to face the future.
Shirley Knight is excellent, too, as the mystery woman in Catch's life, who holds the key to his past, but is patient enough to give him time to remember.
I promise you this movie will keep you spellbound until the very end, and then send you running to the video store for more of Jennifer and Jim.

Slow moving but beautifully crafted
I have to confess that I was a bit dubious about borrowing this DVD from my local library but the blurb on the case looked intriguing and as there was nothing on the telly worth watching, I thought, "what the heck!"
All I can say is, "what a little gem of a movie." Jennifer Lopez is a damn good actress, I don't care what anyone else thinks, but that girl is multi-talented. Not only she can act the socks off the likes of Gywneth Paltrow, she has the added bonus of being a red hot singer too.
The plot is quite complex but surprisingly easy to follow. Lopez plays a dedicated cop called Sharon who has her fair share of emotional demons to cope with, along with a stressful job, an over protective partner, and a dysfunctional family life that is just getting worse. James Caviezel plays Catch, a mysterious young man who comes into her life abruptly, saving her from a gun toting assailant. They know each other but are unable to voice this knowledge because they are perfect strangers...aren't they? The story steadily moves through Sharon and Catch's lives as they come to terms with secrets, family ghosts and their blossoming love for each other. This is an unusual love story, with great camera angles, and the flash back between past and present is done with a ghost like subtly that makes you shiver. And no, Jennifer Lopez doesn't burst into song every five seconds, in fact it is James Caviezel who has the musical ability, playing jazz on a trumpet in an elegant downtown bar as Lopez watches on in delight. Also the musical score is great which makes this film all the more watchable.
All the cast in this film are great, right down to Bob the stray mutt that Catch takes in and gives a home.
This is a smart film for smart people. So if you aren't smart, don't bother watching it, you won't understand it, and you might hurt your brain cells in the process.

I Fell In Love w/ Catch Too
I just saw this movie and was absolutely surprised. Like so many who fell pray to the marketing, I thought Angel Eyes was some type of suspense thriller about a cop and some stalker guy. I thought it was the 'same ol' thriller'. So, I'm just watching it.

I was blown away by the depth of the characters and the acting. Jim Caviezel is my new favorite after this. I loved him Frequency, The Count of Monte Cristo and The Passion. But this movie has convinced me of how wonderful of an actor he is. He brings Catch to life through his body language and eyes just as much as he does his line delivery. It was also great to Jennifer Lopez play a different type of character. I can't recall ever seeing her play a dramatic role and was surprised at how well she pulled it off. Most of her characters are more lighthearted than this one.

Those of you looking for a great romance, give this story a try. Jennifer Lopez plays Sharon, a Chicago cop trying to cope w/ the effects of growing up w/ a father who abused her mother. Jim Caviezel is Catch, a mysterious loner and amnesia victim trying to cope w/ the car accident that altered his life forever. The two are wonderful together and create a film that will warm the heart of any romance lover.

A great movie!
This movie gets to your heart no matter what, its a story about human feelings, tragedies and relation ships...you'll be truly impressed by the atmosphere of the movie, even the beginning is amazing! I was shocked when I first this movie, even made me a cry in some moments, its a special movie, good for parents and children, wife and husban. It shows how we can hurt the person we most love, by not admiting that we're not right, and what we did is wrong! Jennifer's character seems not to go on with nobody, the real reasons being well hidden in her heart, once you discover them , you'll see nothing is what it seems to be.
If you like this tipe of movies (dramas) you'll love this one, it will give you a lot to think of!

STUNNED
This is a very good movie. It has made me a fan of Lopez. There is a real depth to her acting. Caviezel was also great in his role. While some may say his acting was stiff, I don't agree.

This movie is not an action of supernatural movie. It's about decesions and events in the lives of the characters and how they cope with them. What is unique about this movie is that it never gets preachy or smary and like real life some issue are not resolved.

A short scene near the beginning of the movie examplifies the realism of this movie. The scene involves Lopez on a date. Anyone would be hardpressed to believe that Lopez would have a hard time getting a date. The movie handles this in a credible way. ... Read more

Amazon.com

Samuel L. Jackson gives a virtuoso performance in this intensely visual suspense film. Jackson stars as Romulus Ledbetter, a brilliant musician whose mental demons have driven him onto the streets. When Ledbetter finds a murdered man outside the cave he calls home one morning, he is compelled to find the real killer. While interesting enough to hold the viewer's attention, the mystery of The Caveman's Valentine is a distant third to Jackson's performance and the film's sumptuous visuals. The film is gorgeously shot, and lights and abstract images are effectively used to show Romulus's beautiful but tormented inner world. While the plot does take a silly leap of logic or two, Romulus's illness and the strain it puts on his family are sensitively and realistically handled. His all-too-real run-ins with his policewoman daughter are nicely contrasted with his visions of his ex-wife, who serves as a combination of Greek chorus and muse. If one is willing to suspend a little disbelief here and there, this picture is well worth a look. --Ali Davis ... Read more

Reviews (37)

An Underappreciated Award Winner
The National Alliance for the Mentally Ill (NAMI) has honored actor Samuel Jackson, director Kasi Lemmons, and her sister, Dr. Cheryl Lemmons, the psychiatrist who served as a consultant to the movie, with its 2001 Outstanding Media Award for a dramatic motion picture---because of its portrayal of a homeless man with paranoid schizophrenia, who is both protagonist and hero. Jackson's character, Romulus Ledbetter, who solves a murder mystery, is a figure of intelligence, insight, talent and dignity, even as he experiences paranoid delusions and hallucinations (which he calls--correctly--"brain typhoons"). The Caveman defies the stereotypes and stigma usually associated with mental illness, and represents a major, cultural breakthrough for Hollywood. Viewers will come to know and like Romulus as an individual. There are many funny, ironic moments, but he and his illness never are used as the butt of jokes. The acting, direction and visual effects are superb, the mystery only so-so, but there IS a twist at the end. The realism also is greater than many may believe. Don't expect a big, wonderful, warm, happy ending. Romulus is a man whose spirit survives, and he prevails...but so does his illness.

Respectable Sophomore Effort from "Eve's Bayou" Director
Rather than simply make a continuation of her debut feature, EVE'S BAYOU, Kasi Lemmons wisely chose to "stretch her creative muscles" with her next effort. While not entirely successful, THE CAVEMAN'S VALENTINE is nevertheless an intelligent and provocative film.

Based on the novel by George Dawes Green (who also wrote the screenplay), THE CAVEMAN'S VALENTINE tells the story of Romulus Ledbetter (played effectively by Samuel L. Jackson), a mentally ill cave-dwelling man. One day, he discovers a dead body just outside his living space, causing him to immediately embark on a search to find the killer.

It doesn't take long before you realize that you are not watching a run-of-the-mill murder mystery. Instead of bombarding you with pointless car chases and noisy special effects, THE CAVEMAN'S VALENTINE focuses on the demons inside Ledbetter's mind. This is represented through a series of highly stylized hallucinations and flashbacks.

The film also explores the strained relationship between Ledbetter and his daughter, Lulu (Aunjanue Ellis of MEN OF HONOR). Their situation is further exacerbated by the fact that Lulu is a cop involved in the murder investigation. Simply put, there is no shortage of character conflict nor eye candy here.

The dialog also crackles in the film. The best line is spoken by Tamara Tunie (the narrator on EVE'S BAYOU), who plays the role of Sheila, Lulu's mother. Written by an (uncredited) Lemmons, the line is sure to elicit a response from fans of Terry McMillan and similar novelists.

Overall, THE CAVEMAN'S VALENTINE is an intriguing character study which includes a touching father-daughter relationship. This comes at the expense of gripping "edge of your seat" suspense, but don't let this keep you from experiencing this rich and complex film. Amelia Vincent's cinematography and Terilyn A. Shropshire's editing are first-rate. Terence Blanchard's score is seamless. (These three also collaborated with Lemmons on EVE'S BAYOU.)

If you're a fan of typical summer movies that seem to care more about style over substance, you'll probably be better off to look elsewhere. On the other hand, if you've grown weary of loud thrillers with formulaic plots, you'll really appreciate this film. Check it out.

Sam Jackson is wonderful!
The great thing about DVD and movie rentals are to be able to catch those gems that were here this morning, gone this afternoon from the movie theater. This is a can't miss film from Kasi Lemmon (Eve's Bayou) starring Sam Jackson as Romulus Ledbetter, a former Julliard trained musician who has been driven to the streets due to mental illness. He discovers a "valentine" in the form of a dead body that was left outside of his cave on Valentine's Day and sets out to track down the killer.
The movie just rumbles along with plot twists, the mental images are beautiful and the movie is a thriller to the end.
I was disappointed with the deleted scenes. It would have been nice if the director could have let the viewer know why the scene was deleted and what the relevance was.

There is a short cast and crew bio that is pretty nice and of course the director's commentary.

A good adaptation of the book
There were many things missing or different from the book, but what movie adaptation is perfect?... Samuel L. Jackson was wonderful as Romulus, and the story made a good movie. If you enjoy the movie, you should pick up the George Dawes Green book -- same author as The Juror, also adapted into a movie starring Demi Moore and Alec Baldwin.
Also, on the DVD's "Deleted Scenes" section there is a WONDERFULLY choreographed scene with Rom's "moth-seraphs" which is just amazingly beautiful to watch! It's too bad they cut it from the movie, but be sure to take it in when you're going through the Bonus Features.

Hidden gem!
I got this movie just because of Samuel Jackson. It turned out to be a great movie. On the one hand, it's a very decent thriller, on the other hand, it's a good psychological drama. The story of homeless man witnessing a murder is not the most original but the movie makes it fresh by very good character development. Having said this, the thriller part of the movie is not perfect. There are certain aspects of it that could be done better or plot sometimes could be more logical. But still the overall approach to the movie, its atmsosphere and great Samuel Jackson play make this movie worth watching. ... Read more

Description

Joanna Scott (Linda Hamilton) whose husband has just left her for a younger woman, is a prominent New York journalist assigned to do a story on a secretive and successful Paris madam. Though not interested at first writing the 'sexposé', she realizes that a month in Paris might do her good.Soon after meeting the sophisticated and successful Madame Simone (Jacqueline Bisset), Joanna finds herself the one being interviewed. It doesn't take long for this worldly madam to size up Joanna and strip away her cold veneer. What is revealed is an insecure woman who needs to feel desirable again.Like a modern day Pygmalion who educates and refines beautiful women, Madame Simone offers her expertise in helping Joanna rediscover her sexuality and sense of self. Drama. Not Rated. 91 Minutes. ... Read more

Reviews (5)

Slow Service
This seller was very slow at sending the DVDs. I ordered two. The first one was sent 17 days after I ordered it. It took so long, I finally sent an e-mail asking where it was. I had to send another e-mail asking where the second item was, because I ordered two DVD's of the same movie and only received one. When I finally received the movies, they were in great shape.

A Funny, Beautiful, Charming, Film About Love and Life
For every woman in search of herself and for the men in search of what women are looking for... take heed of this movie. Linda Hamilton is curious, funny, sweet and poignant. Jacqueline Bisset is elegant, refined, sensual and sexy. The most I've ever enjoyed both of them.

This is one of those rare films whose title may mislead its audience. It is not about pagan sex, but rather a delightful comedy with a lesson in life for women, and for the men secure enough to listen and learn to their needs.

Watch this film to better yourself and to learn to appreciate the woman you love (if you are a man), or if you are a woman, watch this film to blossom into anything you want to be. Either way, be ready to enjoy this film as it will make you laugh and make you see life in a different light.

This film should belong in everyone's DVD collection to remember to live life to the fullest and reassure one's self while learning the meaning of true love.

And yes, I too am a heterosexual man whom enjoyed this film very much.

Lifetime Television is something.
I was surfing around for something to watch and I saw this and loved it. It was a very good story that caught my eye that I enjoyed and I had to get the DVD. I have wished someone could have reawakened my life of sorrow when I was going to my doctor and had to be at the hospital and lost my enjoyment of life for a number of years. I would advise you to get a good story like this in your movie collection in DVD, you will love it. By the way this is no sex or lesbian film like a number of you think. There is just a stong scence of self put back in someones life. By the way I am a man and even a man can enjoy a beautifull story like this. Get it in DVD.

Great pairing of Jaqueline Bisset & Linda Hamilton!
Very cool to watch a movie where Linda Hamilton turns from a "plain Jane" into a woman who is sensual, sexual, and beautiful. Jacqueline Bisset is enjoyable(and sexier than ever) to watch as the "Madame" who transforms her, and makes her realize that she can be sexy too.

Don't let the garter belt scare you!
This story is for women of any age and any marital status. Some women profess it stiffles all that women have worked for in the "coming of age" but I say this will empower you. How? It reminds us all that we must love ourselves before others can love us. The garter belts,etal, are just to get us thinking. It's true--the clothes don't matter nor does our weight or anything else. It all comes down to how you feel about you. If you exude the confidence, the rest will come to you. I know, because it worked for me and I feel fabulous! ... Read more

Amazon.com

Who Is Cletis Tout? is about a crook (Christian Slater) whobreaks out of one jail and then has to break back in to another; who gets a newidentity, only to discover that his new identity is a man some dangerous peoplewant dead; and who's describing his life to a hit man (Tim Allen) who's a suckerfor old movies with satisfying stories. The plot of Who Is Cletis Tout?has too much cleverness and not enough smarts, with too many holes to makesense. Nonetheless, Slater, Allen, Richard Dreyfuss, Portia de Rossi, RuPaul,and Billy Connolly are all engaging enough to keep things pleasant. --BretFetzer ... Read more

Reviews (15)

Crimes, Hitman, Romance & Comedy (& LOVEly Portia de Rossi)
"Who Is Cletis Tout?" ... This uninspiredly named film has received very cold treatment in USA, and it seems to have vanished without trace. Sure, the premise, as I tell you later, sounds like a bad imitation of Quentin Tarantino, but "Cletis" has its own virtue that is totally missing in "Pulp Fiction." This film is, in fact, endowed with a much lighter touch and some comedy flavor, and besides a lot of reference to classic movies in Hollywood, this film has, most incredibly, a romantic side that works well.

Christian Slater is Trevor Finch, who is captured by a professional hitman "Critical Jim" played by Tim Allen, in a small hotel room. Now it seems his life is over, but the hitman offers a deal -- tell me your story, and if your story is interesting enough, you might have a chance. In other word, "pitch" me, as screenwriters do before studio executives. Finch begins his story about how he ended up with the present situation, and the film also follows it with flashback.

The story of Finch, which revolves around his much elder friend in jail Micah Tobias (Richard Dreyfuss) and the stolen diamonds, has so many twists in the course that you might forget about summerizing it. All I can say is that it involves things like -- fake identity, mistaken target, and the special appearances of Billy Connolly and Rupaul. Anyway, Finch, Micah, and Micah's daughter Tess join in searcing for the treasure, fending off the gangs and cops alike.

As you may notice, the film is a homage to the genre of crime noir, and its story is far from predictable. The film takes some very unexpected turn here and there, and shows a very audacious step by introducing an original method of bank robbery (you may smile at it, or you may resent it). Moreover, some part of the story is too incredible, I admit.

The most elaborated (or pretentious, you may say) part of "Cletis" is its reference to old films. I don't name them simply because most of them are quite famous. When Tim Allen's hitman refers to the classic films, and he evaluates Finch's story according to the good, old values represented by these classics, you may feel you are living in the age of post-Tarantino genaration. The fact is, however, the touch of "Cletis" is more light-hearted, and though not all references are effective (some are too obvious), the film barely gets away with it, largely thanks to Tim Allen's good performance as acting as a not-so-wicked hitman.

Probably, the best part of the film comes from the romantic side shown most effectively by the portrayal of strong-minded girl Tess, played by Portia de Rossi (known as "Ally McBeal"s Nell Porter). Tim Allen's hitman refers to her as a tough girl with a heart of angel, like any Kathleen Hepburn role you pick, and this moviegoing hitman is absolutely right. Ms. Rossi, lovely and lovable more than ever, is as good as, or probably better than, anything she has shown in that popular TV series, and her fans should not miss it. The relation between Tess and Finch is sustained by both actors, and you may not believe me, but Christian Slater is surprisingly good as this unlucky but likable small-time crook.

I beleive that with less plot twists and more romance, the film could be better. Still, "Who Is Cletis Tout?" can offer more than you can imagine, if you forget those not-so-effetive film references that might remind you of ... yes, Tarantino again. But the comparison is quite unfair, because the strength of the film comes from very different quarter.

Clever dark comedy saved by good performances.
When a Con Man (Christian Slater) by the name of Trevor takes the Identity of a Man by the name of Cletis Tout, who just got murder. Before he takes the Identity, he escaped from Prison with an Middle-Aged man (Oscar-Winner:Richard Dreyfuss), who stolen millions in Diamons. Who wants to get back his Diamond with the help of his attractive daughter (Portia de Rossi) but everything turns dark, when Trevor gets mixed-up with Mobsters & a Movie Buff Hit-Man (Tim Allen).

Written & Directed by Chris Ver Wiel made a Clever Comic Thriller, although it's flawed in places. But it's the fine Performances by Slater & Allen makes this Underrated film, worth watching. Allen is Terrific. DVD's has an sharp anamorphic Widescreen (2.35:1) transfer and an good-Dolby Digital 5.1 Surround Sound. This film wasn't release wide in theaters, this could be a Cult Classic in waiting. Fine music score by Randy Edelman (Gods & Generals, Triple X, Dragonheart). Panavision. Grade:A-.

crime caper with laughs
Fairly implausible, especially the idea to get the treasure back, 2/3 thru the film. Yet, fairly entertaining, as well, using the idea of Tim Allen, as the man who simply wants to be entertained in the finest of Hollywood tradtion--the classic film as Americana.

So, most of the film references are blindingly obvious and are thrown out in an unnecessary, similar manner each time. However, the familiarity of the films that Allen refers to, are enough to make you smile---easy, relaxed entertainment, like play acting or mimicking our favorite lines, as we all have done, with our friends.

Not a great movie, verging on the ridiculous, yet you get to see Allen in as odd a role ( for him ), as you'll ever see. Slightly above average, and worth a look.

An amusing film...
Trevor Finch's (Christian Slater) life is hanging by a thread as he is taken hostage by Jim (Tim Allen), a skilled hitman. Jim is a serious enthusiast of classic cinema as he uses lines from different films and complains about the missing magic in current films as he awaits the call for Tout's extermination. During the wait Finch begins a long story that has a jewel heist, prison escape, beautiful woman, and much more. The story hooks Jim as he learns about a mistaken identity that might prolong Finch's life. Who is Cletis Tout is a well-written story with much film history that amuses as it contains both suspense and adventure to keep most audiences entertained.

Classic 3-star cinema
For me, the realm of 3-star ratings belongs to films that are worth watching once, don't waste your time by being too long or too stupid, and have enough good moments to hang your hat on....yet the classic 3-star film ruins its own experience too frequently by asking you to accept a bit of business that doesn't make sense, makes a chemistry-poor couple fall in love who hated each other moments before, and otherwise forces your brain to remove itself from the film's created reality and plops you back in your seat saying, "Wha?!"

This is the case with this mostly cute little film that trades on its own love affair with old-time Hollywood by injecting hit man Critical Jim (Tim Allen) with the same affliction. It's a quirk that mostly works well, but as he and the leading man (played by Christian Slater) tell the story in flashback, Jim interferes with the story too often. Breaking down the fourth wall is great if done lightly and occasionally, but here his comments on the behind-the-scenes of filmmaking make the audience think too much about how this film is made, rather than allowing us to get lost in the story. Homing pigeons also play a crucial role in the story, yet we never get any clue how they know where they're supposed to go in this story, and without an explanation it makes absolutely no sense.

The story itself is clever enough and engaging, and I was never tempted to shut the VCR off, which lifts it above a 2-star dud, at least. And the ending, or I should say the postscript after the "guy gets the girl as expected" ending, is perfect. Certainly worth a rental, especially now that it's in the cheapo section. ... Read more

Reviews (1)

the truth could save him, the lies could kill her
This Rank thriller directed by Michael Crichton has a scuzzy screenplay by Bill Phillips, from a story by Phillips and Steve Ransohoff, which is half courtroom drama and half street investigation. The title is explained by the means of execution of a hood being found in the home of Burt Reynolds, a Boston cop on suspension for "unwarranted violence". In spite of the obvious setup, Reynolds is charged with the murder and Theresa Russell becomes his defence attorney. Russell is given more screentime than Reynolds, and the treatment even allows for her breathy mannerisms by making her an inexperienced and ambitious. At one point someone even tells her "I can do without the dramatics" which gets a laugh. As Russell's boyfriend, Ted McGinley benefits from the same effect, with his ineffectualness used for himbo-ism. She and Reynolds banter well, and thankfully the inevitable romance is given a light touch. The only Phillips line that passes for wit is someone referring to the "reverse Midas touch, where everything touched turns to manure", though Reynolds is around to underplay. If the divisive focus and ultimately the seriousness with which we are supposed to take the court case are questionable, Crichton pulls us along with his skill. He creates multiple scenes of messy group anger, and provides a beautifully executed climactic chase. Ned Beatty is also pleasing as the District Attorney, probably the only one who attempts the region dialect. ... Read more

Reviews (31)

Holds the interest
This film is a strange, sad film about a young gay man and his miserable family. It reaches a point of crisis at his sister's wedding. There are tragic, believeable characters: the alcoholic father who can't control his temper, the burned-out mother worn down from keeping the family together, the daffy grandmother, the brassy, devoted sister, her indecisive, mixed-up husband. But for all that, we always remain fixated on the main character, both as despairing, lonely teenager and quietly self-assured young man. Some scenes grab the emotions like few other films have, especially for gay men struggling with unhappy childhoods. The only problem is that it's sometimes hard to understand. The director strives to be artistic, which is admirable, but the mixing of realistic melodrama and surrealism results in uncertainty, and when the film is over, I was uncertain as to what the director was trying to say. However, it is always gripping and holds the attention.

Quite unique
I liked this film a lot - it made me cry.

Now, I'll let youin on a little secret----the film is about a homosexual guy who returns home after running away from his family over 10 years earlier. When he left he was a huge (as in obease) teenager, struggling with being homosexual, and having tried to kill himself. He returns a svealt, kind of happy adult and takes a rather painful trip down memory lane. The secret is, I probably liked it because I used to be a 350 pound homosexual teenager---and I'm not anymore......but you always remember. So I warn you ahead of time, I might be somewhat personally jaded.

Personal experience aside, the film should work for just about everyone-----it has an uncanny ability to hone in on your emotions. They are all there--fear, loathing, confusion, sadness, acceptance. All as seen through one man who now sees just how unhappy and miserable all the people he left behind really always were.

It's definatly a film wirht having--you will watch it atleast 3 or four times and always find it entertaining.

An overgrown garden
Like many things Canadian, this film takes a bit of getting used to. At first glance, it seemed confusing and too understated and I was on the verge of writing off the whole Canadian film industry as a load of bunkum, when I gave myself and the film a second chance. And I'm glad I did.

'The Hanging Garden' is in many ways, 'American Beauty' taken up north. There's family dysfunction galore, (...)repressed and rescued, symbolism around every corner and yes, the flowers. But whereas Sam Mendes' opus concentrates on the symbolism of the rose, Canadian Thom Fitzgerald throws a whole garden at us. Sweet Williams, Black-Eyed Susans, Violets, Laurels and even an Iris, the image of garden as family and flower as individual is brilliantly done here. And whereas Mendes focused on satirizing the surface of things, Fitzgerald has gone deep into some pretty dark territory.

Sweet William returns 'home' after a ten-year exile from his family and painful childhood. He arrives on the day his beloved sis, Rosemary, is to be married. Nothing out of the ordinary, just Sweet Willy's a little late. And for a reason. This Sweet William is a much different person than the one who escaped ten years ago.

As the story unfolds, the weeds of the family's past begin to poke up through the dirt. William returns to an alcoholic father, Whiskey Mac, who has succeeded in alienating just about everybody with his tyrannical selfishness. In fact, on the night of his return, William helps him to bed and then has a heart to heart chat with his mother, Iris. Iris blames her children and her abusive husband for keeping her in bondage, when in fact, her own exaggerated sense of duty has kept her locked up all along. She suddenly elopes from the house and sets the family upside down as to why she has disappeared.

As the search for answers continues, William sees the ghosts of his former unhappy self, an obese, self-loathing teen who can't come to terms with his own homosexuality, glide through the house and garden. William retraces the steps of his sorrowful childhood, from his first (...)experience (with the boy who would later become his sister's husband!) to the final climax of his self-hatred. William must confront the person he tried to kill ten years ago in the garden. Who was he? Why was he pushed to such an act? And how can he move on?

But his journey to freedom means facing some unpleasant truths from the past and present, not all entirely of his own making. Caught in flagrante delicto with a boy by his near-senile, Virgin-hugging Catholic granny, William is sent to the local prostitute. Sent by his mother no less! And ten years later, William learns that the foul-mouthed tom-boy brat at his sister's wedding is actually the fruit of that most unpleasant union. Moreover, his sister's groom, Fletcher, Willy's first love whose rejection led to the near-fatal suicide attempt, now desires the new, sexy William more than ever!

The film is convoluted, contrived and utterly confusing as plausibilty is stretched to the limits. It would be hard to find such mother as Iris, or a husband-to-be like Fletcher, but somehow, the film makes you believe it all could have happened. And that's the whole point. Whatever really happened in the past is never as clear as we would like it to be. Lines cross, colors bleed and images blur.

At first, the acting struck me as too low-key, but after two more viewings, the subtle performances of Chris Leavin (William), Peter Mc Neill (Whiskey Mac), and Seanna Mc Kanna (Iris), more than made up for the lack of big names involved. Also, the backdrop of Celtic music combined with exquisite camera work (close-ups of flowers and faces!) made the film a treat to watch.

Despite some pernicious weeds, 'The Hanging Garden' makes its case. In order for us to free ourselves from our past, we need to confront it and then bury it deep, for under every flower bed lies a whole lot of manure.

The Garden of Mismatched Souls
Sweet William, Rosemary, Violet, Basil and the rest. Named after flowers and herbs, people growing together in your typical family garden of mismatched souls. Little William, trying to be something that sets him apart from the rest, something nobody can touch or change. He grows up to be a gay and obese teenager. Lusting after his closest friend. Not the easiest of lives. We meet Willy 10 years later, returning home to celebrate his sister Rosemary's wedding. He is now a slim, attractive young man. But what has happened during those ten years? And who is the little boy running around the house?

Every time I watch this small masterpiece, new layers of meaning turn up. The plot structure gives away some undiscovered truths, together with dialogue pointers I didn't notice before. That, to me, is a film worth seeing! When we showed this at our local film society, it got a great reception, one of the best we ever had for a film.

The Hanging garden is short, bittersweet and - sadly - true to life. You'll find something in this garden for you, whoever you may be!

Boringggggggggggggg.
I really tried watching this 3 times. Each time I could not finish. I found it so boringggg! It dragged on and really never seemed to keep my interest. ... Read more

Amazon.com

In a quirk of film history, this new version of the 1972 classic is directed by Kevin Hooks--who played the central role of the sharecropper's son in the original. That's a nice full circle, although it leaves unanswered a basic question:why bother remaking a movie that got it right the first time? The story is simplicity:a black family in the Depression suffers when the father is arrested for stealing a ham. The punishment? Five years, hard labor. Sounder has an under-rehearsed, rushed quality common to low-budget TV pictures, although Carl Lumbly brings a powerful presence to the role of the father. (That's Paul Winfield, the star of the original, as the teacher who befriends the son.) The shortcomings may not matter much to the young audiences Disney targets, as they'll probably be too busy rooting for the return of the dog that gives the movie its name. --Robert Horton ... Read more

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