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A mixed bag that received mixed reviews when released in 1994, this lavish film works overtime to honor the spirit and style of the vintage pulp novels and radio shows that made The Shadow a household name in the 1930s and '40s. Alec Baldwin plays the Shadow, a.k.a. Lamont Cranston, who arrives in New York from his decadent life in Tibet, fully reformed and disciplined in his ability "to cloud men's minds." A crime fighter who lurks in the dark recesses of the city, the Shadow faces his most deadly challenge when Shiwan Khan (John Lone), the last surviving descendant of Genghis Khan, hatches a plot to conquer the world. The scheme involves a madman (Tim Curry), a hapless scientist (Ian McKellen), and various traps designed to catch and kill the Shadow, who must also contend with his blossoming romance with Margo Lane (Penelope Ann Miller), a slender beauty capable of a little mind play of her own. The movie's art deco production design turns out to be a scene-stealer when the plot drags, and in the title role Baldwin is never given enough good material to create a compelling character. Still, The Shadow is true to the legacy that inspired it, admirably avoiding any conspicuous compromise of its 1930s style and setting. If you can't get into the story, you're sure to be hooked by the look of the production, which is never less than dazzling. --Jeff Shannon ... Read more

Reviews (78)

Moody Fun To Tickle Your Psyche
...though how in the (blank) could Universal have released this on DVD and NOT done WIDESCREEN? The DTS transfer is as crisp and clear as you'd ever want, but this is a movie of astounding visual scope that cries out for a widescreen version. (I have this movie on VHS, DVD, and Dolby Digital Laserdisc, and the DDLD is by far the best of the three, because it's widescreen and the DD is amazingly crisp for LD.)

Still, though, there's a lot to like about this movie: Alec Baldwin is dead-on perfect as Lamont Cranston and his darker side, The Shadow; Baldwin can go from charming to chilling with one flex of his facial muscles, and that ability is nicely on display here, even if The Shadow is buried under a hat and cloak and heavy makeup. Penelope Ann Miller looks gorgeous as Margo Lane, the blonde bombshell with a brain to match, but isn't challenged much by the material. John Lone chews up scenery as Shiwan Khan, last descendent of Genghis Khan and darker reflection of The Shadow's edgy goodness. The art deco sets are terrific; the music is rich and moody; the visual scope of 1933 New York City is breathtaking.

I recommend this one with qualifications: If/when a widescreen version comes out, get it instead of the other DVD or VHS versions. But the movie itself is well worth seeing, particularly if you're an old-time radio fan.

The seed of wide screen adaptation bears bitter fruit!
I want to like this film completely....to give it five stars. It really is well produced and acted, but I can't get my head around the portrayal of Lamont Cranston as a former opium dealer who is converted by a young, prodigal Dalai Lama into the hero we know as: The Shadow.

Alec Baldwin does a good job as Cranston, playing the part with wit and an entertaining offhand quality that suits the part. However, I'm not so sure he portrays the Shadow himself...that's DEFINITELY one of his longer-nosed brothers in the transitional scenes, and the make-up obscures the Shadow actor's real features completely. The Shadow character also doesn't "move" like Alec Baldwin does as Cranston. We almost never see any closeups of the Shadow's face as well.

However, storyline-wise, acting-wise and as pure entertainment, this was one of the better popcorn movies of 1994. Penelope Ann Miller is a competent Margot Lane, the art direction is excellent, and there's a dolly shot in here that will have just about every movie tech-freak baffled.

John Lone's portrayal of a descendant of Genghis Khan with equal ability to Cranston's is suitably arrogant and cold-hearted, a mindset I find a LOT of Lone's character's possessing over the course of the last decade or so...

Ian McKellen's first major popcorn movie role was here too, playing Margot's father, a sceintist, and Tim Curry, (AGAIN!) plays a smarmy, foolish scientist colleague of McKellen's that hooks up with Lone's megalomaniac Khan descendant.

When you get right down to it, this movie is FULL of moral dilemnas....Besides the question of Lamont Cranston's opium connection, there's the rather sick fictional conceit that an oriental could be responsible for the creation of the atom bomb, and the way Lone's Khan is defeated in the end is VERY cruel! Perhaps this is payback for the character he played in "The Moderns".

Other players in the movie are Jonathan Winters and Peter Boyle, Winters playing Cranston's Uncle, the chief of police, Boyle playing one of The Shadow's sidekicks. You'll also probably recognize Arsenio "Sonny" Trinidad from "Batteries Not Included" as one of Khan's henchmen.

All in all, a VERY interesting flick.

What Evil Lurks in the Heart of Men...The Shadow Knows!
"The Shadow" was a popular radio program (before television sets were made for the home). It began on the Dectective Story Hour on July 31, 1930 as a character in the story. James La Curto was the voice 1930-31 and then Frank Readick Jr (1931-37), Orson Welles (1937-38), Bill Johnstone (1938-43), Bret Morrison in 1943, John Archer in 1944 and Bret Morrison again in 1945-54. The last radio program of "The Shadow" was broadcast December 26, 1954.
Two motion picutres were made with Rod La Rocque as "Lamont Cranston"/"The Shadow", THE SHADOW STRIKES (1937), INTERNATIONAL CRIME (1938). They also made a movie serial in 1940. In 1958, Richard Derr played the role in INVISIBLE AVENGER (1958).
In 1994, they tried to resurrect the character of "Lamont Cranston" with Alec Baldwin in "THE SHADOW" (1994). Imagine the Invisible Man and Kung Fu in the land of film noir. And oh yes, the rainy mist and full moon. While on a case searching for the chinese and there taste for opium, Lamont is captured by the "emperor". He is spared and taught mystical powers. he is now able to continue finding and fighting the crooks and keeping his own identity a secret.
Also in the cast: Johnathan Winters, John Lone, Penelope Ann Miller, Ian McKellen and Tim Curry.
No extras, no bonuses on this DVD.

It's FULL SCREEN.
Let's say the movie deserves 4 stars at least. It's beautiful and the plot stays true to the original characters. Whatever you may think of Alec Baldwin's acting ability it's still a good movie. But the DVD is an old style, barebones, FULL SCREEN version. It's crap. The only reason you should buy this is that you can't wait to see it one more time and it's cheap...otherwise get the even cheaper serials like the Invisible Avenger and wait for the Special Edition.

"The Shadow"
A film of grandiose design with a camera that can't capture it. From beginning to end, we're constantly (and painfully) aware of the great film it might have been had it been directed with more patience and a better sense of rhythm. As it is, the film simply has no drive, no forward charge to it; it's as if it's standing still throughout the entire running time. Alec Baldwin, in the title role, is as bland as he's ever been, though it's not as if the script gives him anything real to work with. There's nothing plot-like here, and things are not helped by groan-inducing attempts at humor. It's not an utter loss: the production design is marvelous, and the scene where Tim Curry confronts the Shadow in an abandoned hotel has a genuine intensity that you'll wish had been present throughout the film entire. Also featuring Penelope Ann Miller, Ian McKellen (who's largely wasted), Jonathan Winters, and Peter Boyle. ... Read more

Description

London 1893 is home to a killer with a macabre nickname... and also to a visionary genius who would write "The Time Machine." But what if H.G. Wells' invention wasn't fiction? And what if Jack the Ripper escaped capture fleeing his own time to take refuge in ours - with Wells himself in pursuit? ... Read more

Reviews (49)

When Times Collide
Noted visionary author H.G. Wells (Malcolm McDowell) plays host to a group of friend's at his home in London 1893. The reason for the get together is for Wells to show off the time machine that he built. One of his guests is a "wolf in sheep's clothing". Dr. John Stephenson (David Warner), is really none other than Jack The Ripper, one of the world's most notorious serial killers. When the London constables begin to close in on the elusive murderer, Stephenson uses the time machine to escape to the 20th century, to continue his crimes. Wells takes action and decides to follow him and bring him back to face justice. Once Wells arrives in "our time" he meets Amy (Mary Steenburgen), the two fall in love (on screen and off), while they close in on the Ripper.

This adventure from writer/director Nicholas Meyer (best known for Star Trek II) mixes these 2 men of history with a tale whimsy that works better than you might imagine. Meyer fills the movie wth plenty of fun, romance, excitement, and social commentary about our cuture. Meyer keeps things moving along in his freshmam effort as director,. All three of the main actors give good performance and really sell the idea of the film. Watching the film again, after about a decade since my last viewing, it didn't seem as "dated" as I recall. TIME AFTER TIME is a good little film that deserves a look.

The DVD boasts an all new digital transfer that looks great. The commentary track from Meyer and McDowell, seems as though each of them were recorded separately, then edited together later, to make it sound like they were in the same room. I can't be sure though. The disc also has an iteractive essay called "It's About Time" Finally, there are 3 theatrical trailers: One for this film, one for the film version of THE TIME MACHINE from 1960, and the remake from 2002.

The DVD is recommended and worth your time (pun intended)

"We Haven't Gone Forward, Herbert. We've Gone BACK."
For some reason, when I mention this 1979 film to friends, they inevitably confuse it with 1980's Somewhere in Time. Despite the similarity in titles, and the time travel concept, these two movies couldn't be more different.

Writer/Director Nicholas Meyer's inspiration for Time After Time boils down to a simple "what if?". Namely, what if Time Machine author H. G. Wells had really built a time machine and traveled to the future? Meyer, a die-hard Anglophile, also had the inspiration to include Jack the Ripper in the story. Those who've seen Meyer's other films (Star Trek II and VI, and TV's The Day After) know he has a keen sense of directorial balance. The result is a bracing blend of action, romance, humor, and sly social commentary, alongside the usual time travel paradoxes.

There is wonderful chemistry between Malcolm McDowell's Wells and romantic interest Mary Steenburgen as 20th Century bank-teller Amy Robbins. (It was apparently based on genuine attraction, as they married shortly after this film was made.) David Warner's performance as the villain avoids the usual bad-guy cliches and is entirely believable. One could easily imagine Warner's "Jack" slipping undetected into any American city, much as Hannibal Lecter does in later film ventures. The performances are enhanced by Miklos Rosza's superb score.

This film does not aspire to the high-minded social ideals of H. G. Wells' novel. The deepest message is the fictional Wells' contention that "every age is the same, it's only love that makes any of them bearable," which is pretty hard to refute. However, in many ways this movie is more successful and compelling as purely cinematic entertainment than either of the "straight" movie adaptations. Disbelief is suspended, and the audience is swept along for the ride.

On the movie itself.
Forgive me. I've not yet gotten this DVD, but the movie is a long, long time favorite of mine. Consider my two cents limited to the movie itself.

Something I hear very little of in the other reviews is the introspection, the emotional turmoil of the Wells character himself. The character Wells' point of view on the world and of human nature, circa 1893, does seem to be a artistic snapshot of the real wells. His views of Socialism and government and human nature, while presenting rather unheadily, were transported out of the 19th century past into the 20th century present (circa 1979). The love story with the modern Amy Robbins and the science fiction of the time machine, are for me secondary to the real point of the movie.

Obviously there are lots of cute, artistic ties between what Wells sees during his visit future and what he later is known to have gone on to write about. There are plays on the "War of the Worlds" title versus "world war II". But that's the cutesie fluff. More importantly, this Socialist is compelled to fix his unwitting mistake (the Ripper using his machine) and protect Utopia, but finds that not only is there no Social Utopia, but rather that the world seems to have degenerated into a cold, inhuman Anarchy where even religion fails. Note that the entire experience arose from the discovery that, beyond a shadow of a doubt, his best friend of many years was, in fact, one of the most evil people in the world. The time machine was meant as a tool in Wells' personal study of humanity. In stead its first use was at the hands of evil, as is unfortunately so often the case.

Wells love interest Robbins, is another good plot device in making the business of fighting even even more personal for Wells. Ultimately JOhn (Jack The...) threatens Robbins, absolutely forcing Wells to give in and take up arms - Wells' ultimate anathema.

People have mentioned technical flaws like solar power at night and the time machine changing its location. OK, clearly there was room in the production for someone of Trekkie ilk who could toss in suggestions along the lines of "how about Heisenberg Compensators for the transporter??" With a really vivid imagination and an obsession with sci-fi time travel it's not terribly difficult to fill in some gaps. However, if you watch closely, nowhere ever is there either the suggestion of silly things like a paradox, neither in the dialog nor in the story flow. Indeed, the time travel as a story tool works very nicely. At one point Well and Robbins find something out about the future and try to catch the Ripper in the act. Try as they might, however, they are unable to change the future. Later, another aspect of the future they believed would happen, did happen accurately, but not they way they expected. One could actually take this as a very deep philosophical point. Perhaps paradoxes can't exist; Perhaps there's something more to this one single universe keeping everything running smoothly, including time travellers. Personally, I find the infinite parallel universes idea interesting philosophically, but a total and embarassing cop-out in science fiction. This movie was not attempting to be a Star Trek style sci-fi flick by any means. For this I'm thankful, since it doesn't bog down tis other messages with technical hooey.

To this day, with the obvious likely exception of A Clockwork Orange, I've never seen a Performance by McDowell come anywhere close to this one. For absolute historical accuracy I couldn't speak, but the character he ends up portraying, with the body langauge, facial expressions, and tone of voice, is exceptionally well done.

Let me acho a similar sentiment for Steenbergen and Warner. For her role in this movie, I've had a crush on Mary Steenbergen for all too many years now. (is 25 years too long to hold a crush on someone?) I saw another review here that said there wasn't enough character development on Jack the Ripper. I agree somewhat. I think this was one of Warner's best performances, too. I do wish he'd had even more chance to bring us the pathology of the killer. I know it would have been great. However, in real life Jack the Ripper remains a mysterious figure to this day, not to mention that it wasn't really all that applicable to the rest of the story. Were it a more recent production, I'd expect to see multiple scenes with Warner either put back into the DVD release or at least included elsewhere on the DVD. Fans would like to see it, but it wasn't really necessary to have it in there (think the cut ending scene in The Terminator).

No, it's not a technical masterpiece. It's no The Shining or The Joy Luck Club or Aliens. Hardcore 21st century movie fanatics will likely go "Huh? Why are we watching this?? Where are the CGI transdimentional space aliens and all the Matrix-like gunplay??" To be fair to them I witthold one star.

Personally, I LOVE this movie!

Incredible movie
I won't go on about this great movie's virtues, as that has been done very well by other reviewers. The one point I want to make is to give credit to the most compelling single line I have ever heard in a movie. Herbert speaking:

"The first person to resort to violence is the first person who has run out of ideas".

Think about that........

Time After Time is a Gripping Story.
That H.G. Wells (played by Malcolm McDowell) actually invents the time machine in this story offers nice possibilities to begin with (he more or less has invented the thing before the film begins). And when none else but Jack the Ripper (formidably played by David Warner) uses this piece of machinery to flee Victorian London to surface in 'contemporary' San Francisco (from London to San Francisco?), well, have we then an interesting, if somewhat 'cheesy' (by lack of a better word) premise?

I thought it all amusing. Now you might think that Time after Time is a chase-and-run film, but this isn't quite all what it's about. McDowell hits the nail as the innocent gentleman from another era, and his staring non-comprehensive or naive at the 'wonders of the modern world' is funny. His meeting Steenburgen may seem a sub-plot at first (romantic), but gradually develops into something that stands on its own (and without this TAT would be hollow).

So we have formidable acting, likable characters, suspense, and humor. It has to be said, people who have no trouble with sf elements will the more enjoy TAT (my opinion). Really, it's just a story that could not do with the sf parts. Surprise, surprise, even the ending I did not foresee, even though I should have anticipated it.

One note: as with some other reviewers, I also thought the special effects a bit dated (but I don't care about such things). However some were well-done, but the fairy glitter was too cute.

Also, the DVD has some nice additions. ... Read more

Reviews (36)

PRETTY DARN FUNNY...
This is definitely one of the better Chevy Chase vehicles, as it does not go too far off the beaten path and is handled with a lighter touch than many of his other films. It is funny, wry, and deftly humorous.

The plot is simple. A sportswriter from New York, Andy Farmer (Chevy Chase), and his wife, Elizabeth (Madolyn Smith-Osborne), decide to move to the country so that he can write his great American novel. They move to rural Redbud, Vermont, and instead of a bucolic, pastoral setting with friendly, kindly, country folk, they find snakes, a postman who maniacally drinks and drives, a sheriff who can't drive a car, a corpse in their back yard, and a whole slew of the weirder than weird.

Instead of writing the great American novel, Andy only manages to turn out some useless drivel, while Elizabeth turns out a charming children's book. This causes great friction between the two, and it looks as if their sojourn in the country, as well as their marriage, is to be a brief one. They decide to move back to New York and inveigle the entire town of Redbud to assist them in selling their house, by turning the town and its environs into a warm and cozy setting out of a Norman Rockwell painting. What happens next is quite funny.

Just about every one in the film is a little wacky, with the exception of Andy's wife, Elizabeth, who is the one sane, grounded character. Madolyn Smith-Osborne gives an excellent performance as the wife. She is a perfect comedic foil. Chevy Chase as Andy is well...Chevy Chase and, as always, funny. The supporting cast is likewise excellent and contribute to the many humorous moments in the film. All in all, this is an enjoyable comedy that is fun for the whole family.

Typical Chevy Chase Comedy Fare.
Funny Farm was an average Chevy Chase film. Very funny and goofy, with a no-rules screenplay and a stupid plot which grows onto to you, and makes you get used to it. Funny Farm isn't a National Lampoons kind of movie, this one is acceptable for kids and adults...who both should find something amusing about it. Personally, I think that if you don't rent it, then you're missing the fun, because Tv edits out too many funny parts [like the scene where he drops his wife threw the door]. Overall, Funny Farm is worth the time to watch, and is a winner for hard-core Chevy Chase fans.

Funny Farm A Great Laugh Anytime
Funny Farm is...well.. funny! I remember when it came out in the theatres it got about 2 or 3 stars. However if you like romantic comedy set in the backwoods this film will have your sides aching from laughter. The premise is rather simple. A big town guy turns to a small town in search of a better life. The only problem is that everything goes wrong. The movers cant find the house. No one will give directions. There are a pair of sign stealers that appear all throughout the movie. Of course our heroine Andy needs to see that sign that they just took (Look! No bullet holes!) There is a scene in a diner and a Sheriff that has you wondering about small town law enforcement. The whole thing ends up at Christmas with beautiful decorations and even more hilarity as our stars come back to Earth. Chevy and Madeline play off one another well in this funny movie. Just when you think things are straightening out for the couple, something else falls apart. Its another movie that is no Oscar winner but its one I watch over and over. I couldnt have a collection of movies without Funny Farm. Dont miss it.

FUNNY...AND VASTLY UNDERRATED MOVIE
This movie doesn't get a lot of love but through repeated showings on the Comedy channel I have grown to really appreciate it. Chevy Chase is a big city sports writer who decides to give up city live and move to the quaint New England town of Redbud, Vermont to write a crime novel. He's accompanied by his wife played by Madolyn Smith.

Well in classic Murphy's law, everything that can go wrong, does go wrong. They get to their new house and find that their furniture is late arriving, they have no phone, their mailman is a nut who tosses the mail out as he speeds by, and they have a body buried on their property.

Chase tries to acclimate himself to the new townfolk by filling in in a fishing contest...promptly hooking one of his partners in the neck with the fishing hook. In an attempt to remove the hook Chase punches the hapless man to try and knock him out. This prompts one of the other men to say, "you're not knocking him out, you're just beating the Sh*t out of him!"

Throughout, Chase battles the crazed mailman as well as the rest of the nutty townfolk who are like demented members of Hooterville.

Later they decide and sell their dreamhouse and offer to pay the townspeople to act normal for just one day to impress the prospective buyers. They put on a show right out of a Norman Rockwell painting as its now during the Christmas season. funny stuff.

Chase is at his finest as the put upon writer, becoming slightly more crazed himself with everyday he spends in redbud. The townspeople are tremendous.

Pick this one up

my favorite movie of all time
This is just plain good entertainment. I never get tired of it. I love the town of REDBUD. Too many classic scenes to mention. Okay I'll mention one. "gotta love the mailman". They don't make movies like this anymore that you can share with your whole family and laugh. ... Read more

Reviews (21)

The cutest, most endearing love story of all time!
An attractively, welldone movie. Meg Ryan's character seemed to be made just for her and she played it superbly. And Walter Matthau was wonderful as Einstein. They couldn't have picked a better guy. I was just cuted out by the characters he and his friends (Lou Jacobi, Gene Saks, and Joseph Maher) played. The were the funniest, most humorous match-makers I have ever seen in a movie. In short, I think that the cast of characters was nothing short of magnificent.

Catherine (Meg Ryan) is the niece of the well meaning but bumbling Einstein (Walter Matthau). She was born with the mind of a scientist who always follows her head, and is just learning what it means to follow her heart. And Ed (Tim Robbins) is just the man to teach her how (with a little help from Einstein and his friends).

This Movie Is, Like, Jivin'!
I have to confess.....I love this movie. I think I've watched it over 300 times, and I'll probably watch it another 300.

Say what you want to about Meg Ryan being too cute, about the plot being predictable, whatever. I think it's just....jivin'. It's a neat love story, about the actions of boy meets girl, fate and love, and Albert Einstien's convertible. Throw in a comet and a few wacky physicists, well, it's just pure fun. I wish to heck I could find the score somewhere; the blend of do-wap and Mozart is as much fun as the movie itself.

I'm prejudiced because Tim Robbins is my favorite actor, but all the acting in this goofy, off the wall film is top-notch. Though it's not one of the late Walter Matthau's most famous roles, I personally think it's one of his best, and I can't think of anyone better to play the eccentric Albert Einstien.

One of the most beautiful things about this film is the accuracy of the set and costumes. Not just Meg Ryan's picture-perfect 50's dresses, but the buildings and vehicles, and especially the heavily wood-panelled bungalows favored by the rich during the late 50's; they're so time-perfect you can almost smell the Lemon Pledge.

Incedentally...look for one of the funniest performances in one of the experiments by Meg Ryan's movie fiance, "Excremental Psychologist" James Moreland. I'm not sure who the actor is, but in the background of his lab is a student driven psychotic by a "time depravation experiment", and his physical humor and antics are about a thousand times better than anything from SNL in the past decade.

By the by, this makes a perfect date movie, and is mild enough for kids...but still fun for adults. It's just all around terrific, and a great buy.

A brilliant romantic comedy
Now this is how to do the genre!

This is brilliantly funny, poignant and tender, but never insipid (the director is Australia...so insipidness is definitely out) movie. Matthau is truly fantastic as Einstein, as are his three sidekicks (especially Godel! and the tree that likes to eat their stuff!) as they try to manuever the two leads together and remove the Lesser Professor, a.k.a the rat man, Chimp Pimp, etc from the picture: the stuffy english fiance of Meg Ryan's Character, played perfectly by Stephen Frey. Of course the Lesser Professor is trying to hang on to Meg Ryan's character and expose Tim Robbin's character as a fraud because of his new found friendhsip with Einstein and the secret paper they're working on so Tim Robbin's character can impress Meg Ryan's charater with 'his genius' because that is what she looks for in a man- a genetic hope of making genius children so she, lacking in her own confidence, can achieve through her children. MEg Ryan's character is Eistein's neice.

I can't understand how Matthau didn't get a best supporting actor nomination for this movie! He is so good, as is all the cast: they fit perfectly, especially the 'four boys'.

The story is fairly linear but well paced. It does deal with a lesser theme of self belief, being yourself, and sexual equality and that brilliant men can be have brilliant women as their equal, or betters. The main theme is not letting the brain rule the heart too much, and to be happy. And that some things-love- defy science!

I can't think of any movie like this one. Its unique, clever, witty and subtle at times (especially the humor: Einstein on a motorbike going wah-hoo...very cool!). So if you like your movies sophisticated, wholesome, honest, stylish and not contrived then you defintely want to see this one! The cinematography and 'fifty-ness' is fantastic!

Definitely 5 stars! More even...!

DVD is very plain: just the movie. No added features or even bio's for that matter. But with a movie this good, who needs them? The picture and sound quality are top notch.

SILLY, BUT CHARMING
Apart from a quote I love ("I'd rather be an optimist and a fool, than a pessimist and always right") the movie is also a relatively intelligent feel-good romantic comedy. Matthau is hilarious as Einstein, almost looks like him too! Robbins is at his suave best, and Meg a prim intellectually inclined neice of Einstein.

If you have any respect for the history of physics and the reputations of the people who formed non-Euclidean theory, leave it at the door. (One cannot but wonder if fictional physicists, instead of real characters could not have accomplished the same thing in terms of compelling characterizations?)

In any case, the movie is a neat little love story, and worth a cosy evening's rental.

Surprise! A good Movie
I caught this flick on cable TV one day and was left feeling I watched a good-hearted romantic comedy. The movie wasn't the funniest or raunchiest and it wasn't a tear-jerker...just the way a romantic comedy should be. Robbins (the actor) was great in his "working man" role. The Einstein twist was marvelous and his (Einstein's) fellow genius' were also great.

Strongly recommended for someone looking to watch a romantic comedy free of zany characters or crazy scenes. ... Read more

Amazon.com

Barbra Streisand returned to amped-up comedy form (following her work in Herbert Ross's sharp, unsentimental The Owl and the Pussycat and Peter Bogdanovich's screwball homage, What's Up, Doc?) in this nutty 1974 feature by Peter Yates (Bullitt, Breaking Away). Playing a Brooklyn housewife so dedicated to her cabdriver husband (Michael Sarrazin) she'll do anything to help him get ahead, Streisand's character--with the impossible name of Henry--secretly borrows three thousand dollars from a loan shark so hubby can play the stock market. When an expected windfall doesn't happen, Henry becomes frantically inventive trying to raise the money to pay the shark back. Originally called July Pork Bellies (a reference to commodities futures that makes sense in the context of this story), For Pete's Sake doesn't really measure up to the aforementioned Streisand comedies, but there are certainly solid moments and individual performances to single out for praise. (Among the latter is wonderful character work by Molly Picon, Estelle Parsons, and William Redfield.) Director Yates, as has often been the case, didn't quite get his head around this sort of broad material; as comedy goes, he has proven more adept with sweeter, droller films such as Breaking Away. Despite all that, true Streisand fans will not let this get away without a look. --Tom Keogh ... Read more

Reviews (13)

"Don't let him down."
In retrospect, it isn't hard to understand why Barbra chose to make this limp, embarrassingly unfunny farce. The arty UP THE SANDBOX had just flopped and the future prospects of the just completed THE WAY WE WERE were unknown. Deciding that her reputation as a movie superstar couldn't take another project that was a commercial risk, she agreed to star in FOR PETE'S SAKE, a woefully misguided attempt at modern screwball comedy. Basically, everything that WHAT'S UP, DOC? succeeded at brilliantly, FOR PETE'S SAKE fails at miserably. Not only are the characters annoying and the puns infantile, but FOR PETE'S SAKE commits the biggest crime known to comedy: it just ain't funny. Throughout all of the typical comedic mix-ups and chases, the viewer will find his or herself moaning rather than laughing.

Barbra tries her best to pump the film up with her undeniable comic gifts, but there's no inspiration in this sitcom-level script, so even her earnest portrayal gets lost amid the murk. Michael Sarrazin fares even worse due to his badly underwritten character, and he has no chemistry with Streisand. Unfortunately, the rest of the cast doesn't fare much better. True, veteran comedic actress Molly Picon has a few amusing bits as Ms. Cherry, but none of the other supporting players are able to break out of their one-note characters. However, when a screenplay is this labored and unfunny, you can't really blame any of the actors - they obviously did the best with what they were given. It's certain that Barbra wouldn't have made this film had she known that THE WAY WE WERE was going to be a blockbuster hit, however that is not a good enough reason to excuse the poor execution behind this picture.

There are fans who like to say that the contrived box office hit THE MAIN EVENT or the off-beat box office flop ALL NIGHT LONG are Barbra's weakest films, but I must strongly disagree. THE MAIN EVENT may have been tired and predictable, but at least it was funny overall, and Streisand did had chemistry with her leading man in that one. And though ALL NIGHT LONG may have not been a perfect film (the film's soggy mid-section is it's biggest flaw), but it had a charmingly odd-ball perspective that made the movie seem bizarrely endearing. FOR PETE'S SAKE has none of the things that make THE MAIN EVENT or ALL NIGHT LONG entertaining. It just stumbles on to the finale, getting progressively worse as it goes. While FOR PETE'S SAKE was actually a box office hit in it's day, in the end it no doubt had a more damaging effect on Barbra's career. It did nothing but provide fodder for the people who never liked her to begin with.

About the DVD: The picture quality is great, much better that I expected, and the sound is also fine. Yates' commentary track isn't very interesting (and has some long silences), but it's still a nice addition.

Barbra Arrives on DVD
It's nice to see more Barbra Streisand titles appearing on DVD. FOR PETE'S SAKE has arrived and although it is not one of Streisand's "classic" films, it is certainly entertaining -- and the DVD makes this 1970's film look great!

For starters, the disk comes with a letterbox presentation on one side and a full-screen presentation on the other. The menu is colorful and a funky 1970's design. The trailers included (WAY WE WERE, PRINCE OF TIDES, and the PETE'S trailer) are interesting. The Talent Files are brief. The colors and clarity of the picture look great to me.

As for the film, Barbra is very funny. She's in her fast-talking Brooklynese mode here. The plot is barely realistic, but that doesn't really matter because this is a romantic, screwball comedy. Actually, when you think about it, the story of a wife who prostitutes herself to pay for a loan is quite horrendous. But director Peter Yates somehow makes you forget this -- in his commentary (an extra audio track on the disk) he keeps saying "This movie is entertainment, it's supposed to be fun and not taken seriously."

Barbra sings the title song (the lyrics are a bit dated, but the song is fun) and wears a short Jon Peters-designed wig. Look for Barbra's longtime manager Marty Erlichman in a cameo. Also, praise should be given to Gene Callahan's production design. Streisand's apartment (although clearly out of her character's means) is gorgeous!

My favorite scene is when Barbra gets licked by the bull while driving a trailer. Barbra's laughs of disgust and amazement are quite hilarious.

Enjoy FOR PETE'S SAKE!

Aptly Titled
Avoid at all costs. Streisand at her most obnoxious, weaker material than a Nick-At-Nite "Facts Of Life" marathon. Wear a life preserver if you have to sit through it because it starts sinking right away.

For God's Sake!
Okay, what were the film folks thinking with regard to this picture? The commentary by the film's director was fun; the film in two formats was nice; but after almost 20 years, there is nothing new to this piece. The only upside is being able to burn on your personal CD player the opening title song, "For Pete's Sake" sung by Streisand. Where is the creative genius' behind these releases?

Barbara chewing scenery
This is not one of my favorite Barbara films. It's ok to watch on a dreqary Sunday afternoon. I'd much rather watch "What's Up, Doc?" or "Funny Girl" the latter of which has finally made it onto DVD.
This little film is basically about the bonds of marrriage and how love overcomes everything, including prostitution, larceny, goodfellas, porkbellies, stocks, snotty family members and Molly Picon!
Barbara plays Henry, whose husband Pete drives a cab by day and plays the stock market putting their savings into porkbellies. The stocks go belly up and Babrba is determined not to let Petes dreams join them. So, she goes from one silly plotline to another to try and get him the money, all the while putting them further in debt. Until the end when the porkbelly stock finally brings them their dreams.

AA sweet comedy with Barbra acting her face off trying her best to make the most of it. I truly hate her short hair in this movie, it distracts me. I hope that "What's Up, Doc?" and "On a Clear Day" get a great DVD treatment. Enjoy! ... Read more

Reviews (6)

Absolutely Brutal Bronson Actioner
Charles Bronson passed away recently, and to remember him I decided to view once again one of his most bizarre films, "The Evil That Men Do." Returning to this film at least ten years after I last watched it was quite the trip down memory lane, back to the invigorating 1980s when low budget films like this played on cable every night. Some of the best B-movie action flicks in that era starred Bronson, who worked closely with companies like Cannon in order to bring us numerous sequels in his "Death Wish" franchise, the gruesome "10 to Midnight," and the immensely unentertaining "Assassination." Of course, Bronson was much more than a string of cheesy actioners in the 1980s; he also appeared in some of the best known films of all time, like "The Dirty Dozen," "Once Upon a Time in the West," and "Chino." Bronson's death at the age of eighty-one means we will never see a new Charles Bronson film, but at least we have plenty of great films to remember him by. I will miss him.

"The Evil That Men Do" may not be one of Bronson's best roles, but it certainly ranks as one of his seediest. In this sleazy production, Bronson plays a retired assassin named Holland living out his days on the Cayman Islands. Life looks good until an old friend arrives on the island looking to lure Holland back into business again. This friend, Hector Lomelin (played by Jose Ferrer) brings with him a mountain of videotaped testimony in which an endless string of people relate personal accounts of the most repulsive tortures inflicted upon them and their families. One name repeatedly appears in these accounts: The Doctor, specifically Dr. Clement Molloch, a demented physician who dedicates his life to instructing petty despots in desolate Central American countries about the intricacies of mental and physical torture. In fact, the movie begins with a lengthy scene of the doctor's work, as he teaches a group of military officials in Surinam how to put out the lights on those pesky political opponents who always complain about such irritating things as elections, civil rights, and due process of law. Holland eventually agrees to exterminate the doctor in the name of human decency; he even refuses to accept a fee for hunting down this aberrant creature.

Holland heads to Central America to track down Molloch, but in order to allay any suspicions from the doctor and his gang of bodyguards, he brings along Rhiana Hildalgo (Theresa Saldana) and her daughter to pose as his wife and child. Hildalgo's husband died at the hands of Clement Molloch, so she ostensibly wants to see his memory avenged. Holland and his "family" meet up with Max Ortiz, a guy who hates despotic regimes and their reliance on Molloch as a political weapon. With Ortiz supplying the information on the doctor's whereabouts, Holland starts knocking off the hired help. He kills one of the bodyguards by flinging a knife into his throat, hangs another one with a fire hose, shotguns a couple of baddies, and kidnaps Molloch's seamy sister in order to lure the doctor into the line of fire. Along the way, Holland runs into problems with Paul Briggs, a U.S. embassy official who kowtows to Molloch and his goons. In a film loaded with atrocity piled on atrocity, the ending is nauseating to watch, as Molloch gets his comeuppance at the hands of a group of peasants who remember him only too well.

"The Evil That Men Do" is one sick puppy of a movie. It's difficult to picture Bronson starring in such a tacky movie, but nearly all of Bronson's efforts in the 1980s depicted him as a vengeful entity mowing down the bad guys in increasingly sadistic ways. This film is no different, except that nearly every character (even the supposed good guys) leaves a bad taste in your mouth. To make matters worse, the script is so full of holes that you could sail a fleet of battleships through it. How could Molloch's bodyguard think Holland was anything but trouble after spotting him glaring at Molloch during that sporting event? And what was up with the weird recognition between Cannell and Holland in the village café? Maybe I slipped into a coma while watching the movie, but I don't remember any background about these two characters knowing each other from some other place and time. I also never grasped the reasons why Holland decided to accept the mission after some initial reluctance. He watched several of Lomelin's tapes without batting an eye, and adamantly refuses to assassinate the doctor. Then suddenly he decides to lend a hand. Why? I don't know because it's never explained clearly. It's problems like these that handicap "The Evil That Men Do."

The DVD version does contain the uncut version of the film, or at least it appears so. The first segment is really a doozy, and it sets the tone for the monstrous activities to follow. Unfortunately, the only extras on the disc are three trailers: one for this film, one for "The Replacement Killers," and one for "The Big Hit." At least the picture quality is quite good for such an old, low budget film. Maybe watching this slightly above average Bronson film isn't the best way to pay homage to the man, but it is a good representation of the movies Chuck churned out in the 1980s. After you work your way through the "Death Wish" films, you will need to see "The Evil That Men Do" in order to attain the rank of a Bronson completist.

........Lives On And Ooooooooooon!
Bronson's back, kids! This time his sights are set on a sadistic doctor of torture(as opposed to unsadistic doctors of torture) in South America. Bronson's an ex-hitman who's comes out of retirement(naturally) to take out an evil brute known as "The Doctor." Scared yet? You will be when you see Bronson and his "wife" try to pass themselves off as swingers to one of The Doctor's goons. Bronson may be old, but he kicks some butt in this one(as usual) and kills anyone who gets in his way. This is what entertainment is about.

what do i remember about THE EVIL THAT MEN DO?
i am trying not to remember much of this disgusting actioner with bronson looking somber and wooden as an agent or a hitman lured out of retirement and tracking down a sadistic doctor in south america. i remember the gruesome opening sequence of torture where some guy is tied up and having his, um, i am thinking of an anatomically G rated term---lower portions getting shock treatment (his back toward the camera but still...gross)? ugh. i also remember bronson living on an island saying hi to a fish named quasimodo. i also know of bronson beating up a tall indian in a bar and doing something to his, um, lower portion. i also remember theresa saldana sadly wasted here. i also recall the film's ugly bloody climax ... i do know all this sick violent stuff is in THE EVIL THAT MEN DO. you are better off seeing earlier charles bronson material ...

What some foreigners think of us
One of the classic lines is when this big ugly Indian nuzzles up
to Bronson's wife and looks straight at Bronson and says "what you looking at you American ****" , this movie was made during the Reagan administration's moves in Central America but certainly many other foreigners think the same way now during the war on terrorism....

From a bronson Fan - Good Bronson Flick!
I just saw this movie for the first time and it was great. Bronson is hardcore in it. I espiecially enjoyed the wife-swapping/murder scene. (You just have to see it for yourself.) It is defenately a great flick for so late in his career.
OK, so overall, not as good as the best- Death Wish 3, but it was defenately good. Check it out A LOT OF ACTION!!! ... Read more

Amazon.com

A mixed bag that received mixed reviews when released in 1994, this lavish film works overtime to honor the spirit and style of the vintage pulp novels and radio shows that made The Shadow a household name in the 1930s and '40s. Alec Baldwin plays the Shadow, a.k.a. Lamont Cranston, who arrives in New York from his decadent life in Tibet, fully reformed and disciplined in his ability "to cloud men's minds." A crime fighter who lurks in the dark recesses of the city, the Shadow faces his most deadly challenge when Shiwan Khan (John Lone), the last surviving descendant of Genghis Khan, hatches a plot to conquer the world. The scheme involves a madman (Tim Curry), a hapless scientist (Ian McKellen), and various traps designed to catch and kill the Shadow, who must also contend with his blossoming romance with Margo Lane (Penelope Ann Miller), a slender beauty capable of a little mind play of her own. The movie's art deco production design turns out to be a scene-stealer when the plot drags, and in the title role Baldwin is never given enough good material to create a compelling character. Still, The Shadow is true to the legacy thatinspired it, admirably avoiding any conspicuous compromise of its 1930s style and setting. If you can't get into the story, you're sure to be hooked by the look of the production, which is never less than dazzling. --Jeff Shannon ... Read more

Reviews (78)

Moody Fun To Tickle Your Psyche
...though how in the (blank) could Universal have released this on DVD and NOT done WIDESCREEN? The DTS transfer is as crisp and clear as you'd ever want, but this is a movie of astounding visual scope that cries out for a widescreen version. (I have this movie on VHS, DVD, and Dolby Digital Laserdisc, and the DDLD is by far the best of the three, because it's widescreen and the DD is amazingly crisp for LD.)

Still, though, there's a lot to like about this movie: Alec Baldwin is dead-on perfect as Lamont Cranston and his darker side, The Shadow; Baldwin can go from charming to chilling with one flex of his facial muscles, and that ability is nicely on display here, even if The Shadow is buried under a hat and cloak and heavy makeup. Penelope Ann Miller looks gorgeous as Margo Lane, the blonde bombshell with a brain to match, but isn't challenged much by the material. John Lone chews up scenery as Shiwan Khan, last descendent of Genghis Khan and darker reflection of The Shadow's edgy goodness. The art deco sets are terrific; the music is rich and moody; the visual scope of 1933 New York City is breathtaking.

I recommend this one with qualifications: If/when a widescreen version comes out, get it instead of the other DVD or VHS versions. But the movie itself is well worth seeing, particularly if you're an old-time radio fan.

The seed of wide screen adaptation bears bitter fruit!
I want to like this film completely....to give it five stars. It really is well produced and acted, but I can't get my head around the portrayal of Lamont Cranston as a former opium dealer who is converted by a young, prodigal Dalai Lama into the hero we know as: The Shadow.

Alec Baldwin does a good job as Cranston, playing the part with wit and an entertaining offhand quality that suits the part. However, I'm not so sure he portrays the Shadow himself...that's DEFINITELY one of his longer-nosed brothers in the transitional scenes, and the make-up obscures the Shadow actor's real features completely. The Shadow character also doesn't "move" like Alec Baldwin does as Cranston. We almost never see any closeups of the Shadow's face as well.

However, storyline-wise, acting-wise and as pure entertainment, this was one of the better popcorn movies of 1994. Penelope Ann Miller is a competent Margot Lane, the art direction is excellent, and there's a dolly shot in here that will have just about every movie tech-freak baffled.

John Lone's portrayal of a descendant of Genghis Khan with equal ability to Cranston's is suitably arrogant and cold-hearted, a mindset I find a LOT of Lone's character's possessing over the course of the last decade or so...

Ian McKellen's first major popcorn movie role was here too, playing Margot's father, a sceintist, and Tim Curry, (AGAIN!) plays a smarmy, foolish scientist colleague of McKellen's that hooks up with Lone's megalomaniac Khan descendant.

When you get right down to it, this movie is FULL of moral dilemnas....Besides the question of Lamont Cranston's opium connection, there's the rather sick fictional conceit that an oriental could be responsible for the creation of the atom bomb, and the way Lone's Khan is defeated in the end is VERY cruel! Perhaps this is payback for the character he played in "The Moderns".

Other players in the movie are Jonathan Winters and Peter Boyle, Winters playing Cranston's Uncle, the chief of police, Boyle playing one of The Shadow's sidekicks. You'll also probably recognize Arsenio "Sonny" Trinidad from "Batteries Not Included" as one of Khan's henchmen.

All in all, a VERY interesting flick.

What Evil Lurks in the Heart of Men...The Shadow Knows!
"The Shadow" was a popular radio program (before television sets were made for the home). It began on the Dectective Story Hour on July 31, 1930 as a character in the story. James La Curto was the voice 1930-31 and then Frank Readick Jr (1931-37), Orson Welles (1937-38), Bill Johnstone (1938-43), Bret Morrison in 1943, John Archer in 1944 and Bret Morrison again in 1945-54. The last radio program of "The Shadow" was broadcast December 26, 1954.
Two motion picutres were made with Rod La Rocque as "Lamont Cranston"/"The Shadow", THE SHADOW STRIKES (1937), INTERNATIONAL CRIME (1938). They also made a movie serial in 1940. In 1958, Richard Derr played the role in INVISIBLE AVENGER (1958).
In 1994, they tried to resurrect the character of "Lamont Cranston" with Alec Baldwin in "THE SHADOW" (1994). Imagine the Invisible Man and Kung Fu in the land of film noir. And oh yes, the rainy mist and full moon. While on a case searching for the chinese and there taste for opium, Lamont is captured by the "emperor". He is spared and taught mystical powers. he is now able to continue finding and fighting the crooks and keeping his own identity a secret.
Also in the cast: Johnathan Winters, John Lone, Penelope Ann Miller, Ian McKellen and Tim Curry.
No extras, no bonuses on this DVD.

It's FULL SCREEN.
Let's say the movie deserves 4 stars at least. It's beautiful and the plot stays true to the original characters. Whatever you may think of Alec Baldwin's acting ability it's still a good movie. But the DVD is an old style, barebones, FULL SCREEN version. It's crap. The only reason you should buy this is that you can't wait to see it one more time and it's cheap...otherwise get the even cheaper serials like the Invisible Avenger and wait for the Special Edition.

"The Shadow"
A film of grandiose design with a camera that can't capture it. From beginning to end, we're constantly (and painfully) aware of the great film it might have been had it been directed with more patience and a better sense of rhythm. As it is, the film simply has no drive, no forward charge to it; it's as if it's standing still throughout the entire running time. Alec Baldwin, in the title role, is as bland as he's ever been, though it's not as if the script gives him anything real to work with. There's nothing plot-like here, and things are not helped by groan-inducing attempts at humor. It's not an utter loss: the production design is marvelous, and the scene where Tim Curry confronts the Shadow in an abandoned hotel has a genuine intensity that you'll wish had been present throughout the film entire. Also featuring Penelope Ann Miller, Ian McKellen (who's largely wasted), Jonathan Winters, and Peter Boyle. ... Read more

Description

As fast-paced and entertaining as "Get Shorty", this mob comedy stars Joe Mantegna, Kevin Pollak and Joe Pantoliano as inept small-time hoods who have six hours to carry out a "hit" for "the boss." As if Angelo Martinelli (Mantegna) isn't having a bad enough day as it is, it's his 50th birthday, his girlfriend (Jennifer Tilly) is seeing other men, and his father, "the boss," has given him orders to kill Carmine Dellarosa by five o'clock. The only question baffling Angela is, who the heck is Carmine Dellarosa? As Angelo enlists his gang of losers to help find him, they wind up in even more hilarious and bizarre circumstances every step of the way. Joe Mantegna, Kevin Pollak, Joe Pantoliano, Jennifer Tilly ... Read more

Reviews (1)

Boring !!!
Despite the stars in this movie, it is a very boring affair. Hoods is about a wise guy played by Joe Mantegna who is assigned by his father to kill somebody by the name of "Carmine Delaroza" who turns out to be a 9 year olds kid. Despite being sold as a comedy, this movie is not funny. The DVD is in full screen. No closed captioning (despite there is a CC on the back of the jacket). No Dolby 5.1 either. The picture quality is OK. Avoid this. Not worth it. ... Read more

Amazon.com

The talents of John Turturro, Lili Taylor, and Will Patton are wasted on this pointless, "quirky" film. There's a particular subgenre in American film of eccentric characters leading eccentric lives, generally written and directed by people who don't actually know anyone remotely eccentric but feel that their own lives are too ordinary to make a movie about; the result is both dull and dishonest. All Revved Up is about a teacher (Taylor) whose car breaks down and who goes to a dishonest mechanic. Meanwhile, a writer for a nature magazine (Patton) seems to be having some kind of nervous breakdown or depressive withdrawal, which is somehow related to fondling gecko lizards. A welder (Turturro) is in love with a bank teller to whom he has never spoken. There's a subplot about a car-theft ring that holds a little more interest than the shambling scenes about the main characters, but not much. The dialogue is redundant and ineffective, the editing is sluggish, and the visual style is banal. Movies like this give independent film a bad name. --Bret Fetzer ... Read more