Reviews (93)

Farmers vs. Ranchers
Shane is the title of the movie and the main character of this well-made Western. Alan Ladd plays the stranger who arrives in a Western community where a range war between farmers and ranchers is about to play out. The farmers' leader is Joe Starrett, played by tough, reliable Van Heflin. He wants the farmers to stay, to stand up to rancher Rufe Riker and his hired hands.

Riker tries to buy Starrett out, but Starrett won't go. Then Riker hires a gunman - Wilson - played by Jack Palance. He's as mean as they come and he verbally goads one of the farmers into trying to "draw" on him. Wilson(Palance) kills the farmer without blinking.

The farmers are about ready to give up. But when Riker sets fire to a farmer's home as the community gathers to bury its dead, the farmers vow to "play one more hand." Riker sends men to Starrett's ranch to tell him that Riker wants to see him. But Shane stops Starrett by physically knocking him out. He knows that he must go into town to "talk" to Riker.

Civilization is fast approaching on the Western range. And Shane is going to hasten that change by going into battle against Riker.

Western Classic
Shane might well be the greatest western ever made and a true American classic. Recently in a New York Times article, Woody Allen of all people considered it the best American film of all time. The movie is about a mysterious stranger who unexpectently comes into a homestead family's life and helps in their battle against a greedy landowner who is threatening them to move off their land. Alan Ladd stars in the title role and he exudes an air of calm control and dark mystery. Shane is an expert gunman and a skilled fighter, but he doesn't want any trouble. He tries hard to avoid a fight in the local saloon, but no matter how hard he tries, trouble finds him. The homestead family is played by Van Heflin, Jean Arthur and the young Brandon De Wilde. Mr. De Wilde is excellent as a wild-eyed youngster who grows to idolize Shane. Mr. Heflin plays the strong, defiant landowner, but also loving husband to his devoted wife, played tenderly by Ms. Arthur, and his son. He stands by his new friend Shane, when the other homesteaders want him to leave when they feel he's stirring up trouble. A young Jack Palance is menacing as an icy hired gun hired to drive the homesteaders off their land. The showdown between him and Shane is a tense and taut showdown. Director George Stevens captures the breathtaking beauty of the American Old West. Shane was nominated for several Academy Awards, but failed to win any. Despite that fact, it remains a brilliant film worth repeated viewings.

Revisionist History as Entertainment
A lone rider approaches a family ranch. He observes a gang riding up to order the owner off his land. There is an economic conflict between a big land owner and small ranchers who are bringing in Jersey cows and working the land for agriculture. The big land owner wants to eliminate competition from small businesses; his government contract shows his political connections. The film shows the use of barbed wire, the invention that put an end to the open range. The settlers go into town for supplies. A barroom brawl occurs when Shane is attacked; Joe Starrett joins in to help his hired hand. Tavern owner Riker sends to Cheyenne for a hired gun, Jack Wilson, for a final solution to the homesteader problem.

The settlers gather for a July 4th celebration. They hear of Riker's hired gunfighter. That evening Riker show up to make a final offer to Starrett: join him for a good price, and abandon the other small ranchers. This offer is refused. The next day the gunfighter insults Torrey to force a duel, and kills him. Joe Starrett announces he will go into town next, without waiting for the other settlers. The question is: shall the people be oppressed and swindled by a rich powerful landowner? (Most of the large ranches were owned by corporations from back East.) Some of the small ranchers decide to abandon their claims. Yet they have the right to settle and farm the land. "This country wasn't made for just one man." The burning of one home makes the settlers decide to hang on for a while.

Riker makes an offer to draw Starret to his place (for an ambush). Calloway turns up to warn Shane of this trick. Starrett's wife argues for giving up and moving out now. (Credible?). Shane tries to stop Starrett, and they fight in the dark (to hide their body doubles?). Shane wins and leaves to keep the appointment, and force a final showdown. Shane successfully resolves the problem of Jack Wilson, then Riker, and moves on to new territory. [This avoids any retribution by Riker's allies.) {This film uses the dime-novel fantasy of a "fast-draw", which did not occur in historical records.]

This story is loosely based on the Powder River war. In reality, the settler's militia drove off the armed gang hired by the large landowners. The large ranchers tried to get rid of small ranchers by passing a law that gave them sole rights to all cattle in the state! Read the chapter in William Weir's "Written With Lead" for more details. "Unhappy are the people who want a hero."

Two stars. One for each time it put me to sleep.
Don't get me wrong, folks ,I am A HUGE fan of classic Westerns! This one, it just doesn't make it for me. Don't even get me started about Alan Ladd's "tough but gentle" potrayal of Shane. Ladd is unconvincing to this reviewer not only in the tough guy category, but his dramatic side is very, very "Ward Cleaver." AND THAT KID!!! That blasted kid. Joey, played by Brandon De Wilde. Good gawd, if he wasn't the most annoying little snot that came out of Hollywood. (before the debut of Pauly Shore) "Shane, are you gonna shoot that man? "Shane, are you gonna let me look through your Playboys?" I spent half the film (before I fell asleep) hoping Shane would say, "Come here, Joey, and help me change the wheel on this stagecoach" and have a little "accident." Joey's absence from the second half of this movie MAY have kept me awake. (but I doubt it.)

miscast but still legendary
SHANE is among the most renowned westerns in motion picture history, inspite of the miscasting of Alan Ladd in the title role. many other more accomplished actors come to mind of whom could have assumed the role, and many of these were offered the role. however it was Alan Ladd who was awarded the role.

Ladd was a formidable actor and delivered a fine performance inspite of the other more accomplished actors who may have given better performances.

regardless of Ladd in the role of SHANE, the movie was legendary and considered a true classic to this day. the other actors, which include: Van Heflin, Jean Arthur, Brandon De Wilde, Emile Meyer and Jack Palance all gave stellar performances. however it was George Stevens, a director whose name is synonymous with great filmmaking who was solely responsible for the renowned success of this truly legendary western classic. a true masterpiece. ... Read more

Amazon.com

Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basinger plays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a takeover of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the late Anton Furst turns Batman into a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. --Jeff Shannon ... Read more

Reviews (261)

The best comic book movie.
Superman. Spider-man. X-Men. They're all good comic book films, but to me they pale in comparison to this 1989 classic. Micheal Keaton plays Batman/Bruce Wayne and pulls both roles off real well being a millionaire by day and a crimefighter by night. Jack Nicholson also pulls off a great role as the psychotic Joker. The writers did a very good job on the story. My only complaint is the DVD itself. There's not even a theatrical trailer. Maybe Warner Bros. will release a 2-disc special edition next year for the film's 15th anniversary, complete with a theatrical trailer, deleted scenes, and possibly a commentary. They should, considering all the 2-disc special editions they've been releasing lately. Anyway, I highly recommend this to anyone.

My favorite line from the movie:

Mugger: Don't kill me.
Batman: I'm no going to kill you. I want you to do me a favor. I want you to tell all your friends about me.
Mugger: What are you?
Batman: I'm Batman.

Is there a 6-foot bat in Gotham City?
I can still remember as a 4 year-old being completely obsessed with the Batman character. And I loved the movie. To put it simply, Batman was my hero. Of course this isn't the case anymore but I still think that "Batman" is a great film.

One of the most striking things about "Batman" is the set design by Anton Furst, which is very Gothic and bleak looking (during the outdoor scenes there is no sun whatsoever). The Gotham City that looked like any other in the TV series is transformed into dark, slimy crime pit in which good is basically nonexistent. Tim Burton gives the film some good direction, keeping things tight and interesting. He executed the action scenes nicely as well. Aside from the impressive set design and direction, the movie is also well acted. Michael Keaton played the role of Batman very well, giving Batman a powerful presence and a sort of everyman personality (which is even a bit off-the-wall) when he's Bruce Wayne. Jack Nicholson, meanwhile, was excellent as the Joker. He hams things up a lot, which makes sense since the character of Joker is supposed to be a complete, smart-mouthed maniac. I did notice a few problems with this movie though. The story, for the most part, focuses too much on the Joker, which is silly. I mean, isn't the movie called "Batman"? The plot is bit shallow as well, which probably explains why I found it a bit difficult to pin point exactly the Joker wants to do with Gotham City. The love story was bit weak as well. While Kim Basinger did good job as Vicki Vale, she and Keaton didn't develop a lot of chemistry to make their pairing believable.

If you can ignore some minor problems, "Batman" stands as pretty good comic book adaptation. If you like superhero films, then this one is certainly worthy being included in your collection.

al right
It's the first batman movie and it really wasn't that good. Jack Nicoleson was good at joker. But this movie just doesn't catch you. The story between Bruce and Vicky is okay. Tim Burten filmed it well,the action wasn't that good, and compared to the others except the fourth one it doesn't stand a chance.

im batman!
jack nicholson set a world record for accepting 89 million bones to play the joker here.i didnt like the fact that the joker got wasted since he was easily the best character in thefilm.also,although i think tim burton is a directing genius,in this film he focused way too much on character development and the beautiful gothic arcitecture of gotham and really had little left for the actual storyline.michael keaton is batman.children will enjoy this one.this is easily the best of the batman onslaught of the 90s.this is a film most anyone will enjoy except people who criticize everything.there is only one really hot babe in this one.her name is vickie.shes one of those stuck up buisness broad by day-raving whore by night types.the only major difference between this movie and the comic book is that the joker is batmans long time arch nemisis not just some fly by night clown who gets wasted in the first episode.jack nicholson played an awesome joker.he deserved an award.people say this movie rocks and THEY ARE RIGHT.

garbage
Laughable special effects, especially for a movie that came out in the 90's, Robot Jocks had better effects. Watch where the joker falls off the building, and where the bat plane crashes, I think the fire is done with cigarettes. Choreography is lame, like at the end where a guy jumps over Batman's head then goes falling through the floor. Batman doesn't use his intellect or detective skills really, just goes charging in to battles, he almost gets killed twice while out of costume. It doesn't make sense that batman tries to tell Vicky Vale his secret identity. "Yeah, this'll make her respect me
". I can imagine him in front of a mirror practicing "I'm Batman". He also endangers innocent civilians in a car chase(...). What's up with her wardrobe?(glasses), and the guy reporter is an annoying geek. The batsuit is more powerful than the batplane? Batman is shot about 15 times through the course of the movie (twice without the suit), but all it takes is one shot to bring down the plane, i guess because it's moving towards the bullet at such a speed. An aluminum tray also provides stronger armor than the batplane according to tihs movie. ... Read more

Reviews (54)

DESERT RATS GET ACTUALIZED!
Filmed not too far from here in the town of Baghdad in the Mojave Desert, Percy Adlon's BAGHDAD CAFE has charmed just about everyone who has stumbled across this literally off-the-beaten track 1987 gem that's now available for the first time in a bare-bones widescreen DVD transfer.

The story is deceptively simple. Marianne Sägebrecht is a German tourist who leaves -- and is subsequently abandoned by -- her husband(?) in the California desert. In the middle of nowhere, she makes her way to the run-down, failing, Baghadad Cafe and Motel run by C.C.H. Pounder (ER's Dr. Hicks). The rotund Sägebrecht quickly becomes a part of the eccentric family under Pounders tough-talking rule. Not only that, her presence is the catalyst that transforms the forgotten roadside stop into a bustling business and a life-altering experience for all present. Jack Palance is extraordinary as an ex-Hollywood set designer and artist who sees Sägebrecht's true beauty and becomes obsessed about capturing it on canvas. What he sees Sägebrecht becomes and in the process impacts those she touches. This wonderful film is about loving and accepting and believing and discovering and being. The original music by Bob Telson includes the haunting "Calling You" sung by Javetta Steele. This is one for the digital library. Highest recommendation.

Can't expain the attraction ' just see it
I found Bagdad Cafe on DVD three days ago and have watched it twice since, each time with a big smile on my face. It's difficult to explain why this movie is so haunting; if you try to tell a friend "You've got to see this movie because...", you'd be stuck for a definable reason. It's a very gentle character study of two women, different as can be, who come to understand and even like each other. They are both frustrated with their current positions in life. Jasmin (Marianne Sagebrecht), the stranded German tourist, is willing to start repairing her life, even in this bleak desert setting. Brenda (CCH Pounder) has led such a hard-knocks life that she can't understand or accept anyone trying to help her. There's a wonderful supporting cast surrounding them, but the heart of this movie is the way the two women learn to be friends. You're either going to love this movie or be totally bewildered by what I (and other reviewers) see in it.

This movie was shot in Newberry Springs, near Barstow; the restaurant is still there (originally called Sidewinder Cafe, now renamed the Bagdad Cafe, of course). This is the favorite movie of one of my sister's friend who lives in Brazil. When this friend's daughter Paula visited recently, we stopped by the Bagdad Cafe on the way to Vegas; Paula's mom shed tears of delight when she saw pictures of her daugher making a pilgrimage to this high desert Mecca.

My favorite movie of all time
This movie is just perfect. It deserves all the oscars in the world. After watching this movie, you feel good about life....

Different Worlds Harmonize -- Quiet Gem of a Film
When a middle aged Bavarian Tourist lands in a remote, scarcely populated California desert town, she creates not only a stir with the locals, but eventually brightens the spirits of her host family as well as all the "regulars" who pass through the "Bagdad Cafe". What started out as a "big mistake" soon looks like divine providence.

"Miss Jasmin" (the German lady with a matching accent) and "Miss Brenda" (the rough-talking owner of a greasy-spoon restaurant who employs Jasmin and gives her a home) become close friends. An aging "showbusiness man" (brilliantly played by pre-City-Slickers Jack Palance) views Miss Jasmin as his "muse" and is inspired to paint her portrait. When word gets out that her tourist visa had expired, the local Sheriff forces Jasmin to return to Germany. Sadness canvases the place where Jasmin had been embraced as a welcome change of schedule. The life she had brought with her seemed drained away with her departure.

There isn't much plot to stretch the running time (the original German cut runs nearly 2 hours), however there are many bittersweet moments in this simple, but beautiful film. The last few scenes deliver the inevidible (thus predictable) conclusion. A little on the "artsy" side and clearly without a multi-million dollar budget, but still a palatable final product.****

Yawn.
I'd heard nothing but good things about this movie from critics and family members. Clearly, a lot of folks like this movie. It didn't do a lot for me, though. It had its moments. ... Read more

Amazon.com essential video

An amazingly effective film noir action movie, shot on location in New Orleans in 1950, that has twists of plot and explosions of violence that can still make audiences gasp. Elia Kazan, of all people, directed this story of a public health worker (Richard Widmark) and a police detective (Paul Douglas) who have only a few hours in which to capture some fleeing felons who may be infected with the plague. The bad guys are played, with enormous relish, by Jack Palance and Zero Mostel, the latter only a few years before Kazan ratted him out to the House Un-American Activities Committee. In retrospect, this modest crime picture looks like a crucial turning point in the formation of Kazan's distinctive style, a clear precursor to the blistering location work of landmark films like On the Waterfront, Baby Doll, and America, America. --David Chute ... Read more

Reviews (14)

The Legend of Curly's Cold.
Three years before he blasted Elisha Cook Jr. and 41 years before he hitched up with a bunch of city slickers Jack Palance murdered an illegal alien and in doing so caught the bubonic plague.Now it's up to public heath officer Richard Widmark to catch Palance before the disease spreads.

Set in the seedy area of New Orleans director Elia Kazan takes full advantage of the existing locations filming in an almost documentary style in rundown bars, ports, a huge warehouse and shabby apartments.

I like the movie and was amazed that Palance gave such a remarkable performance in his first movie, but still the pacing was too slow and my mind began to wander a few times.Great for Widmark and Palance fans but others might find it boring.

D: Elia Kazan (A FACE IN THE CROWD, ON THE WATERFRONT)

Clinton Reed - Richard Widmark (ROLLERCOASTER, JUDGMENT AT NUREMBERG)
Blackie - Jack Palance (CITY SLICKERS, CYBORG 2)
Nancy Reed - Barbara Bel Geddes (VERTIGO, "Dallas")

A classic film noir with something extra...
This is a film noir with a twist.

You still have your bad guys, cops, dames, crimes, shadows, alleys...don't you worry about that.
However, instead of some sort of central crime, this noir follows the breathless search for a plague-infected individual.
Who happens to be a crook.
Even though the search is led by a forthright doctor from the Public Health Department, he's partnered up with a weatherbeaten, bitter cop, leading him through the dark streets of New Orleans. See? In this manner, they incorporate all the elements of a traditional film noir (minus the femme fatale) and expand it with the whole medical-thriller aspect.

The film, directed by Elia Kazan moves along at a brisk pace, and Richard Widmark does stellar work as the doctor. Barbara Bel Geddes is cute-almost-sexy (who knew?) as his wife.

This apparently is Jack Palance's first big movie role. He's an odd-looking character, isn't he? If you stuck a triangle-shaped shower drain in his mouth, he'd look like Darth Vader. Or I guess, technically, Vader's MASK.

Anyways, the movie speeds along, with everybody talking like nobody does is real life, but like everyone does in good film noir. It's all double entendre, knowing winks and dramatic exaggerations and similes. It's terrific...
The cinematography is crisp; the DVD looks great and the audio is fine.
The disc includes a commentary by some historians, and a smattering of trailers.
This is the first Fox Noir title I've sampled, and I'm pretty sure I'm gonna go get the rest...

An unusual but very gripping film noir!
This excellent documentary-style noir was superbly directed by the great Elia Kazan, who made great use of actual locations in New Orleans to create a very realistic and believable atmosphere. The cast is nearly flawless, with great performances from Richard Widmark (in a rare good guy role!), Paul Douglas, Barbara Bel Geddes, Zero Mostel, and Jack Palance, in his stunning film debut.

Richard Widmark plays Dr. Clint Reed, a public health doctor who must work with New Orleans Police Captain Tom Warren (played by Paul Douglas) to find the killer(s) of a man who was already dying of the deadly bubonic plague (he was carrying a virulent strain of it). They have only 48 hours to find the killers before they can escape the port area and unknowingly spread the plague throughout the country.

Jack Palance plays the ruthless killer who's on the run from the police, not knowing that he's already infected with the plague. Barbara Bel Geddes plays the patient wife of Dr. Reed (Widmark), and Zero Mostel plays the cowardly sidekick of Jack Palance. The memorable music by Alfred Newman only adds to the mood of this entertaining film noir. The dvd has a virtually perfect picture and sound quality, and includes several film noir trailers and an outstanding commentary by film noir authors/historians Alain Silver and James Ursini. Highly recommended for any film noir buff!

One of the best late-40's noir's, bar none
I remember catching this movie on TV about 15 years ago, and I immediately fell in love with it, despite the fact that I wasn't particularly crazy about any of the stars, or even 'film noir'.

This amazing gritty documentary-style film just jells perfectly; the setup of the plague, Richard Widmark and Paul Douglas' dilemma, the sleazy New Orleans waterfront dives and characters.

Director Elia Kazan used real locations and often real local people; some of the cops were New Orleans cops, etc.

I'm so glad that this has finally been released....and hopefully most of you will discover one of the most distinctive films of the late 1940's...right up with there with "White Heat".

And....to top it off, the opening theme music by Alfred Newman is, in my mind, one of the amazingly spirited and exiting themes in the history of motion pictures.....

A great cast but ultimately disappointing
This is one of those films that looks great when you read the cast list, but that suffers in the execution. It is the terrific acting that carries the viewer through Panic in the Streets' non-plot (actually an Academy Award-winning screen story from the husband and wife team of Edna and Edward Anhalt).

Richard Widmark stars as a military doctor who discovers that a recently murdered man had pneumonic plague and would have died in a couple of days anyway. Since it is communicable through the air, he wants to find and quarantine the killer in order to avoid an epidemic.

At the same time, he is trying to keep the story from the press -- one tenacious reporter, in particular -- because people will leave town, those already infected spreading the plague over the country (and possibly throughout the world). The meat of Panic in the Streets involves Widmark searching for the killer with local police chief Paul Douglas.

The killer is Blackie, played by Jack Palance (or Walter Jack Palance here) in his film debut. When Blackie gets wind of the investigation of the murdered man, he assumes that he had been hiding something and goes after the man's cousin, with flunky Fitch (Zero Mostel) in tow. (Their relationship reminds me of the Warner Brothers duo of Cockney cartoon dogs Spike and Chester (right) -- or Abbott and Costello without the humor.)

(About Zero Mostel: Director Kazan would later name Mostel to the House Un-American Activities Committee led by Senator Joseph McCarthy. Mostel was one of many who were blacklisted and didn't work in entertainment for most of the 1950s. He would eventually revive his career and appear in A Funny Thing Happened on the Way to the Forum, The Producers, and The Front, a film about the Blacklist).

Sprung from a potentially fascinating story, Panic in the Streets is, unfortunately, overlong and contains little suspense about the eventual outcome. On the plus side, Widmark has a terrific talent for palying a regular guy and his antagonistic relationship with Douglas is the heart of the picture (despite Kazan's attempts to do that with Widmark's scenes at home with wife Barbara Bel Geddes).

Also, Palance shows why he made a career of playing creeps (and then making fun of that persona in his Academy Award-winning performance in City Slickers): the man has an awesome presence. Mostel, on the other hand, seems to be only going through the motions, giving Fitch none of the depth that he would endow Max Bialystock with almost twenty years later in The Producers.

An extra subplot or two might have fleshed out Panic in the Streets closer to perfection but, as it is, it is simply a passably tense film of a universal fear. However, I do hope that this DVD release introduces Richard Widmark to modern audiences. Popular in radio and film (he's likely best known for his darker turn in his debut, Kiss of Death), Widmark has an instantly recognizable voice and a naturalness that makes any performance of his worth watching. ... Read more

Reviews (27)

One of the Best Comedies of the Ninties.
New Yorker Mitch Robbins (Billy Crystal) turns 39 and thinking that he will be misrable for the rest of his life. Then his two best friends (Daniel Stern & Bruno Kirby) offer a present to Mitch by bringing him to a cattle drive in New Mexico. Then mitch's life start to change unexpectedly by going on his fantasy vacation with his friends. They are set out to find thier freedom and thier adventure, they will remember for a life time.

Directed by Ron Underwood (Tremors, Heart & Souls, Mighty Joe Young-Remake) made a extremely likeable entertaining ambitious comedy. Crystal, Stern, Kirby and Jack Palance's wonderful Oscar Winning Performance makes this Contemporary Comedy Classic really worth watching. Crystal also Executive Produced the film. There's a nice music score by Marc Shaiman (South Park:Bigger, Longer & Uncut). DVD's has an fine anamorphic Widescreen (1.85:1) transfer and an good Dolby Digital 2.0 Surround Sound. DVD only extra is the Original Theatrical Trailer. This is Wonderfully Written by Lowell Ganz & Babaloo Mandel (City Slickers 2:The Legend of Curly's Gold). Watch for Jeffery Tambor, Yearley Smith, Robert Contanzo, Jake Gyllenhall, Danielle Harris and that's Crystal real-life Daughter-Lindsay Crystal playing his Daughter in the flim. One of the highest grossing films of 1991. This is One of the Best & Most memorable comedies ever made, see it. Grade:A.

Buckaroo Bonanza....
This review refers to the MGM Contemporary Classic DVD Edition of "City Slickers".....

Saddle up Buckaroos, for the funniest city dude meets cowboy adventure since Bob Hope roamed the plains!

Mitch(Billy Crystal) is going through a mid-life crisis. He sells "air" for a New York radio station and finds that as he nears 40, his life seems unfulfilling. His buddies Ed(Bruno Kirbly), an aging Romeo, and Phil(Daniel Stern), pitifuly henpecked, also seem to be feeling the strain. They decide a little vacation is in order and head for a New Mexico cattle ranch to enjoy life as they "bring in the herd".

This "fantasy" vacation turns into one hysterical adventure. Learning to rope and ride is trickier(and funnier), then you think. But the toughest part is dealing with the tough ranch hands. One in particular..."Curly"(Jack Palance)...is one bad hombre as he scares these guys out of their wits.

They are joined by several others as the drive begins from New Mexico to Colorado and anything than can go wrong... does! There's a stampede, a runaway wagon, and Mitch even has to deliver a calf. Their cell phones are no help here! There's also mucho male bonding going on during the trek. These guys even bond with the cows! They learn about each other and with the help of the very tough Curly, they even learn what is important in life.

The funny lines and gags are non stop, and there are some very poignant moments as well. It'll have you smiling and often laughing out loud. You won't want it to end, but luckily...there's a sequel.."City Slickers 2..The Legend of Curly's Gold".

The film was honored with several awards. Among them Jack Palance took an Oscar for Best supporting actor, as well as a Golden Globe and a Best supporting actor from the American Comedy Awards. Billy Crystal was also honored at the American Comedy Awards as Funniest Actor in a lead and the People's Choice Awards voted the film the Favorite Comedy of the year. They are joined by some outstanding and seasoned character actors. Jeffrey Tambor, John Mostel, David Paymer, Patricia Wettig, and Helen Slater and the wonderful Noble Willingham all keep us in stitches as well. The music by Marc Shaiman is as fun as the story and Direcotr Ron Underwood and Photographer Dean Semler bring us some real cinematic delights.

The transfer of the DVD is very nice. An excellent picture in widescreen presents the beautiful Western scenery and terrific colors. If you watch the original theatrical trailer, you can really notice the difference made by the transfer. Although the sound in Dolby Stereo was good, it could have been better. This film with all the great music and action needs to be in 5.1. It may be viewed in French(Mono) and has subtitles in Spanish and French, but no other special features. Just a really funny flick that will take you away for about 2 hours.

So sing along to the tunes of "Rawhide" and "Bonaza" with Mitch, Phil, Ed and Norman the cow along the big trail...have fun...Laurie

Poignant Comedy
This is one of those great comedies that also speaks to the great truths of life. I have watched this film over and over again and am always left with a wonderful feeling after having watched it. It lifts my spirits when I am low and helps to remind me what is truly important in life.

Mitch Robbins (Billy Crystal), Phil Berquist (Daniel Stern) and Ed Furillo (Bruno Kirby) are three friends approaching mid-life at break neck speed. Each year they go on increasingly more dangerous adventures which Mitch's wife (Patricia Wettig) describes as desperate and juvenile attempts to hold on to their youth. When Ed suggests mushing along the trail of Admiral Byrd as a way to top running from bulls in Spain, Mitch is ready to quit the adventure trips and settle into senior life at the ripe old age of 39. After a demotion at his job and a surprise at his birthday party where Phil and his icy wife Arlene (Karla Tamburelli) have a blow out after she learns of his infidelities, Mitch's depression gets the better of his wife who sends him on one more adventure - to find his smile.

And so it is that the trio finds themselves on a cattle drive in the American west with five other lost souls and Curly (Jack Palance) as the cattle boss. Palance is wonderful as the gruff old cowboy who intimidates everyone around him (Mitch:"Kill anyone today, Curly?" Curly: "Day ain't over yet."). Yet he knows the secret to life and relates the cryptic answer to Mitch during the ride. As they drive the cattle and overcome obstacles like stampedes, drunken escapades by the trail hands and their own personal struggles, Mitch comes to realize what Curly's answer means and that it is the only answer he needs to bring the pieces of his life back together.

A Big Letdown!
WARNING: Spoilers Ahead!! I hate it when they do this!! The first hour of this movie is so funny I laughed out loud on a number of occasions. Something I don't usually do when I watch a comedy by myself but this was just too hilarious. Then, a cow gets shot just after giving birth, Jack Palance dies and is buried on the trail, two horses get killed going over a cliff with the wagon and a cute little calf nearly drowns in a river. After being bullied and deserted by drunken cowboys, the "city slickers" manage to drive home the herd of cattle and are informed that the cows that "trusted" them will be ground up for hamburger....but hey, that's life! Billy Crystal finds his family is the most important thing to him, and he adopts the little calf, but no jokes could make me even smile after the middle portion of this movie that starts out broad comedy and mutates into warm'n'fuzzy, overly-sentimental, and very predictable fluff. Not my idea of a "feel-good" movie... a little sad actually. When it started I was making plans about buying the sequel. When it ended I decided to sell the original. I can see why there are so many used copies for sale at Amazon Marketplace.
This could have been up there with the best National Lampoon Vacation movies (started out that way) but they blew it.

Great movie, horrible dvd
I love this movie! Its among my top favorites. However, the DVD [is bad]! One reason, the dubbing. The first half of the movie is fine, but about half way through, the words being spoken by the characters dont match up with their mouth. It looks like a bad Bruce Lee movie! Im not one to complain, but it just kept getting worse! At one point the whole line was almost spoken before the characters mouth started moving! I just baffles me that those responsible for transfering this movie to DVD took no care at all in doing it! I really dont know how this DVD made it to stores without someone noticing this huge fault and trying to make it better. Like I said, this is my favorite movie, I give it the lowest rating for the lack of dubbing quaility! ... Read more

Reviews (24)

Best Worst Movie Ever!
This movie is so bad, so stupid, that it's great. Where to start? Well, to begin with the acting. No one ever expects a movie headlined by Stallone and Russell to be a groundbreaking film. Nevertheless, their over the top cheesiness (especially Russell's) lends the film a sort of idiotic charm. Stallone's inane delivery of his lines will keep you captivated. Jack Palance even seems to up the cheese factor in his performance. Teri Hatcher is a highlight of the movie, playing Stallone's spunky sister. She plays the part of damsel in distress, but is also very clever and strong willed. (Who knew there would be a role-model for feminists in a film like this? I kid, I kid) The story is pretty cookie-cutter for an '80s action buddy film. You could almost transplant Eddie Murphy and Nick Nolte into this film and it would just about have the same effect.

So, with a mediocre script and subpar acting, Tango & Cash could very well be a train wreck of a film (like any Seagal or Van Damme flick). It avoids this though, by being so tongue-in-cheek. Whether or not this is intentional can be debated. I only know that I can't help but watch this film every time it comes on!

So if you're looking for big, dumb fun, this is the flick for you!

I miss the 80's
I bought this dvd for christmas and watched it for the first time in a while. Kurt Russell steals the show from his partner and if this movie starred anybody else, then it would have came out a lot worse than it did. Russeell is Gabe Cash and Stallone is Ray Tango, the two toughest and hardest cops in the city. They have done so much damage to the crime syndicate's income that Yves Perret(a brilliant Jack Palance)has to take matters into his own hand and get the duo off the streets. They get set up and end up in a maximum security prison only to discover that if they don't escape, their is no hope for survival. This movie really owes a debt of gratitude to Harold Faltermeyer, who uses all kinds of COOL beats in his score throughout the film and keeps the viewer interested. This movie could have been longer, but I won't complain considering the action films that are being made these days are really stupid!

Stallone & Rusell - an explosive combination
I must say I'm a big fan of detective movies, and '80 were great time for that kind of films (action comedies, adventures...). We already had LETHAL WEAPON in that time, but this film really pushed the limits. Critics often say that this is a B-movie, but that is what they think. For me, this is one of the best Stallone's movies and he and Rusell are really good together as two heavy cops alway aguing and having a lot of troubles with Jack Palance, leader of some terrorist organization who send them to prison where they will meet their doom. Of course, they will win and the rest is to you to be seen. Don't listen the others who didn't like it - give your own oppinion (possitive, I hope).

A lot of fun!
I have to agree with the majority of reviews posted so far regarding this flick. I saw it when it came out in theatres (with my dad; I was just a little kid) but this movie is so cheesy that it's laughable (in a good way) and a lot of fun to watch at the same time. Very adrenaline rushing, action pact destruction and pyrotechnics best define this movie as Stallone and Russle play two cops from the East and West side who cost the local drug lord big bucks by busting all of his drug deals, so he has them framed and sent to prison. They escape of course in order to clear their names and seek retribution. You could probobly find it on VHS for a few bucks at the local pawn shop.....just don't expect Shakespeare. Appriciate it for what it is.

Plenty of Action!!
Lots of action for gals (like me!), watchin Sly and Kurt's cute buns and hot bods running through this movie- also Terri Hatcher is great for the guys to see, she can act but not dance ha ha- lots of one-liner wisecracks and great second performances- Jack Palance as a hilarious chief villain, Geoffrey Lewis (who, incidentally, didn't get listed in the credits!)Clint Howard and more! As fine of a plot as one expects for an action flick, come on, its a MOVIE!! and a mighty FUN one, at that! Two L.A. cops, rivalling for headlines & high total of drug busts, and the bad guys that try to take them out! Not to mention lots of zany characters along the way- WHY can't hollywood make a Clive Cussler Novel like this? Funny, witty, lots of action, just like its written! as the Aussie villain puts it, "Balls to plan A!!" as a "B" movie, this one gets MY vote!! Hope you have fun watching it!:) ... Read more

Reviews (12)

Fine character study....
This is a fine character study and classic portrayal by Anthony Quinn from the Pulitzer Prize winning novellete. What sets this one apart from the other Biblical films of the 50's and early 60's is its lack of "epic" proportions; that is, there are not the usual 50 familiar faces playing a variety of supporting roles. You've got Quinn as the principle, Arthur Kennedy as Pilate (brief), Ernie Borginine (brief), Jack Palance in another evil turn, and filled out by mostly fine Italian character actors. As a Christian, I'm always amazed at how this film reaches me on a spiritual level with each viewing; The soundtrack is innovative and quite extraordinary. A definite thumbs up.

One Great Film
I've often wished for a widescreen edition of Barabbas and now here it is. I became excited several months ago when I saw this edition was to be relased on DVD. So here I am on March 5th ordering my copy. I own the VHS version which distracts from the excellent photogarphy. There are some important things to know about the production of this film: the crucifixion sequece was filmed during an actual eclipse, a one shot scene. The sets were constructed three dimnesional so the streets of Jerusalem and Rome appear real. Anthony Quinn was a perfect choice for Barabbas. If you've read the book this film will provide a quality visual to the fine, simple telling of a man's life, the man who was spared crucifixion and free'd instead of our Lord. Also if you've read the book you'll know what Barabbas is thinking most of the time. Quinn is excellent, his eyes ever roaming in thought of survival. This is a big movie shot in a down to earth realistic way. A fine study in seeking truth, arriving on it's doorstep only to turn away. Because of the book, when Baabbas is helping set fire to Rome, I am aware of how truly emotional this last scene in the film is. (I hope am not giving anything way in the film). Barabbas finally makes an open commitment, acting out on a belief system that he's denied since Christ's crucifixion, only to discover in the end it was Nero who set fire to Rome and not the Christians. It's really all there. The muscal score is unsual and unique. I have the old mono 33 1/2 rpm version which gives musical examples at the end of how Mario Nascimbene wrote and orchastrated the incedibe score. Sadly enough this old recording is far supeior to the new CD issue which edited cuts and left out the 5 minute + prologue. I rate this movie 5 stars. If you like the old spectaculars this one is unique and should be in your library.

God Provides Special Effect On Cue
Anthony Quinn gives a good, tortured portrayal in this speculative movie of what happened to Barabbas after the death of Jesus. Although a bit slow in places, the film manages to keep the viewer interested in what will become of this poor character. One fact about the film that a lot of people do not know is that the sequence featuring Christ's crucifiction was shot during a REAL solar eclipse. This lends an eerie and divine backdrop to the crucifiction and sets the mood for Barabbas' journey to his ultimate destiny.

The "deepest" of the Biblical epics...
I've seen just about all of the Biblical epics, but this one has always been my favorite because of the deeper character development. Except for the beginning of the movie, where Barabbas has been released instead of Jesus, the story is completely speculative. But the journey the story takes is quite moving and unpredictable and thought-provoking. It's probably the only older Biblical movie that actually touches upon the struggle for faith in Christ and the consequences of advertising that faith in a society that outlaws it. Barabbas is a man in anguish, full of guilt and indecision, but tries hard to repress his emotions and his humanity when he's imprisoned and enslaved in a mine for many years. When he's partnered later with another slave, this time a devout Christian, Barabbas resents and then envies this other man's joy in the face of hardship. Is life nothing but hard work and then death, with nothing to look forward to? Nothing to sustain you? Just a bleak end? It's the sort of questions Barabbas faces, even when trying to remain detached. He's a simple man throughout the movie, almost stupid and barbaric, but you can see that deep down he's trying to be a good man. Trying! So, compared to other Biblical movies, this one really touches upon what it means to be human, what it means to have faith, rather than dealing with cardboard cutout characters and flashy special effects. Not to say that the movie is lacking spectacle. The sets are wonderful and massive, and the gladiator fights are huge and violent. As you watch the crowds moving and cheering in the background, you can't help but think: Everyone is real back there. No CGI, no computer manufactured people. It's amazing how they were able to make such large sets and fill them with so many people.

As for the DVD itself, it's beautifully transfered and in its original widescreen aspect ratio. Very sharp and clear, one of the best looking DVDs I own. No special features, which is only a slight disappointment. After all, this has been a favorite movie of mine for years, so I was cautiously celebrating when I haerd the DVD was going to be released. "Cautiously" only because I worried they might cut corners and release a cheap looking DVD. But I was pleasantly surprised that it looks better than I expected.

Bottom line: If you want depth with your spectacle, this is the best choice. And the DVD quality is superb! 'Nuff said.

Widescreen Barabbas finally
After years of waiting, finally there is a widescreen version of this great movie (which is the ony way to see these widescreen epics and the only way to do them justice). So much for the good news. Unfortunately, Barabbas hasn't been granted the same deluxe treatment of other equally deserving epics of the 50's and 60's. I mean going to huge epic movies back then was quite an experience not unlike going to the Opera and you got treated to an introductory musical Overture, an Intermission with Entre'act music and sometimes even Exit music. In line with this treatment for other epics (now restored on Laser Disc/DVD versions), Barabbas was no exception. It originally included a Bolero-like overture of Mario Nascimbene's main theme, an Intermission at the end of the Mines sequence (you can see the abrupt cut into the next scene at the fields where the intermission has been deleted from the all versions of the movie currently available), and an Intermezzo (on the theme for the arrival to Rome)previous to the continuation of the second part of the movie. Until Mario Nascimbene's innovative score is restored, we should still wait for a definitive restored version of Barabbas. The Circus scenes are probably the best ever filmed, and are up there with similar sequences of Ben-Hur and Gladiator. (Spartacus is a great movie but does not include Circus action). I hope some day we get the Deluxe verson of this great epic. ... Read more

Amazon.com

With his aptly titled Contempt, Jean-Luc Godard embraced the widescreen splendor of Hollywood while thumbing his nose at Hollywood itself. A rebel with a cause, Godard pursues an iconoclast's agenda, using the Franscope format (expertly controlled by cinematographer Raoul Coutard) to undermine the grandeur of widescreen melodramas. The story ostensibly concerns an innovative production of Homer's Odyssey and the struggle of a respected screenwriter (Michel Piccoli) to please a pugnacious producer (Jack Palance), a veteran director (Fritz Lang, essentially playing himself), and a petulant wife (Brigitte Bardot) who's grown tired of their turbulent relationship. It's all pretense, however, for Godard's mischievous (and yes, contemptuous) deconstruction of commercial Hollywood filmmaking, potently infused with film-buff in-jokes, astute observations about love, stardom, and artistry, and enough glossy style to suggest that Godard had mastered the craft he so willfully rejects. Contempt is one of his most accessibly fascinating films. --Jeff Shannon ... Read more

Reviews (24)

Godard and Lang, Bardot and Capri
Bardot is actually an excellent actress in this film. Her body gets a lot of attention and there are plenty of shots of her lying in the sun naked but she gives her character depth. Strangley enough when she walks around wearing a black wig she looks very plain, not at all like a movie star. Perhaps the most striking thing about this film is that though it was Godards first color film he manages to use color brilliantly. The film was shot in Italy and reminds me of a Michelangelo Antonioni film as it is a story of two lovers who fail to communicate and thus let their love slip away.

Jack Palance is perfect as the headstrong producer who manipulates his director Fritz Lang (who plays himself), as well as his writer (Michel Piccoli). Palance is the ultimate megalomaniacal producer who enjoys dominating others and manipulating them into doing whatever he wants. The confident and poised Lang acts like the master that he is, he never loses his cool and he copes with Palance's outrageous tantrums as if they were nothing at all, and we can see that despite Palance's constant intereference Lang will make the film that he wants. But the young, sensitive writer is made to feel like a whore. And this explains why he begins to treat his wife like a whore. Piccoli does not seem to want to admit what he is doing but he seems to push his wife into the arms of Palance intentionally so she too will feel the way he does. The script is based on an Alberto Moravia novel and this is a classic Moravia scenario. Moravia was fascinated with prostitutes and so was Godard -- ie My Life to Live.

The husband and wife both feel like whores and so they feel contempt for themselves as well as each other. The husband wonders aloud why commerce must invade every aspect of our lives and by that he means both art and love but he seems powerless to win his wife back. Though the film began with the loving couple laying in bed and whispering to each other, it ends on quite a different note. Palance, Lang, and Piccoli all interpret Homers Odyssey in their own way. Each views the relationship between Odysseus and Penelope according to their own life situation. Palance and Piccoli cease to find the film all that interesting, they are only interested in the battle for Bardot. Lang alone remains focused on the actual film. For Lang the world of the Greeks is too far removed from our own experince of the world and so he reinvents the story so it will resonate with modern audiences and he does so by brilliantly quoting from select texts (Dante, Holderlein)and thus he tells the tale as if it were taking place in the world we know today--as Lang reimagines the tale each scene takes on new significance. And of course the way Lang thinks and works sounds a lot like the way Godard thinks and works.

An excellent film which can be appreciated by Godard fans and a good place to start for those not familiar with Godard.

GODARD DOES HOLLYWOOD
With his subversively titled Le Mepris or CONTEMPT from 1964, Jean-Luc Godard played Hollywood widescreen games while dissing Hollywood itself. Godard undermines the epic Franscope scale with an intimate look at an arrogant producer's attempt to make a modern version of Homer's Odyssey.

Jack Palance is terrific as the combative producer and the great Fritz Lang essentially plays himself as the vetaran director of the film within the film. In a serious but still sex-pot turn, Brigitte Bardot is the pouty director's wife who's fed up with their termagant relationship. And at the center of the conflict is the screenwriter who's trying to please everyone.

This extremely entertaining film with lots of in-jokes about movies is Godard's take on fame, art, and love itself.

The loaded two disc set features a pristine transfer with a wonderful commentary by Robert Stam. Bonus material includes a conversation between Godard and Lang; two 1963 documentaries -- Godard and Bardot on the set of Contempt and Paparazzi. A 1964 Godard interview and a new video interview with acclaimed cinematographer Raoul Coutard.

Bin it.
Regarded by some as Godard's most accessible movie, I beg to differ: Godard has survived because of the freshness and charm of his best films, not as most fawning critics would have you believe because of their intellectual content or ground-breaking film making. As far as intellect goes, the most you hope for with Godard is a ten-minute Maoist harangue interesting now only for showing the then-zeitgeist. As for brilliant, ground-breaking film-making, the same applies - plenty of student films have adopted the same techniques as Godard just to save money or out of pure innocence. If you want groundbreaking, you want Kurosawa or Tarkovsky or Von Trier. What is great about Godard are scenes like the improvised café dance in Bande a Part or the crazy "murder" sequences in Pierrot, scenes which are outrageously witty and cool and original but actually quite simple, like the Beatles singing "I am the Walrus, woooooh."
Back to the point: Unlike his Pierrot, Bande a Part or Une Femme est une Femme in particular, this film seriously lacks charm. The whole thing has a sour mood about it, the actors really look like they have no idea what they are up to and just want it to be over - Palance above all, forced to play a madly egotistical meglomaniac film producer with lines that would look second-rate in a primary school pantomime. Bardot and Piccoli get through it, but you can sense the tension. Lang looks like he's on Valium. No doubt realising that his film was getting a bit irritating as it labours away with tiresome lack of subtlety at a domestic rupture (see same in Femme est une Femme for how it can be done, but this time con brio), Godard goes for broke by repeatedly introducing the mawkish background music all over the place (you can almost see him with an adolescent smirk on his face as he lays it on) to the point of making you groan.
Another thing I frankly don't understand is this: virtually any crit you read will tell you how this was Godard's first and last flirtation with big-budget movie-making. Big budget? It's about the cheapest movie I've ever seen. For example: any producer worth his salt would be surrounded with an entourage and chauffeurs. This guy can barely run to one secretary and drives himself around in a medium-budget Alfa. Likewise Lang. At the Villa Malaparte, a spectacular site on Capri, we see some scenes with a reception being laid out in the back. Look carefully: the "caterers" consist of one old man fumbling around with some plates. The paint is peeling off the walls in the living room. The entire film crew working on the film-within-the-film seems to consist of about three people, and they're not even around most of the time. Best of all, look carefully at the car crash in the final reel. Apparently they couldn't even afford to total the Alfa, so it's a mock up.
Art films are tricky things: the best of them can change your life and lift you to inspiration and wonder. The worst are not worth the celluloid they're made on. But to read all the critics, you sometimes have a hell of a job deciding which is which. Take it from me, this one belongs in the poubelle.

Brigitte Bardot at her voluptuous best: Godard's "8 1/2"
I prefer this film to Fellini's 8 1/2 and there are some similarities. They were made at the same time and they were the first two post-modern films. In this one B.B. is given some good nude scenes we male fans crave in the context of a top notch 1963 work of art. Fritz Lang plays himself and when he mentions B.B. he's talking about Bertolt Brecht, not Brigitte Bardot who doesn't play herself (one of many in jokes). What I love here is the 1960s feel of the film, the melancholy soundtrack which is supposed to express B.B.s emotions, and masterful cinematography. The scenes are set up perfectly and in one we see B.B. in one room talking to Michel Piccoli in another...in the same shot.

There is a modern feel to the film made in color set in Capri, and a feeling of freedom. The plot is that B.B. feels "contempt" for her husband because he lets Jack Palance come on to her, and it works with brilliant subtlety. The ending is kind of another in joke, as there's a bit of dialogue by Lang "death is not a resolution". In one scene the stars are all interacting against a background of current movie posters ("Psycho" among them). And Palance needs a translator from English to French, German, and Italian in the way of the beautiful Giorgia Moll. Lang speaks German, and everyone else Italian, a smorgasborg of languages.

Some later Godard films don't really work well as they are too disjointed (Weekend, 2 or 3 Things...), but here it all comes together.

Self-Contempt
Bring Me the Head of Fritz Lang? Contempt is about selling out to crass commercialism and money's pervasive influence on one's relationships. I don't know what led Godard to take on this project, but Contempt seems to express thru its main character what Godard's experience under Joseph Levine, the producer. The hero of the movie wants money and fame but also to maintain his integrity. The moral dynamic is similar to one in Wilder's Apartment. Hero's lack of control over his own art is paralled with his loss of control over his wife who goes to the highest bidder. To what extent this reflects the then relationship between Godard and Karina is anyone's guess, but watching Godard's Karina movies you sense that they were somehow not compatible, with Godard being too intellectual to keep up with the half-romantic schtick for much longer and Karina too womanly and sensual to have a meaningful role in future Godard projects. Ironically, if Godard indeed lost his touch with women, it would it had little to do with money and more with his increasingly intellectualized view of both humanity and art. ... Read more

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Before The Wild Bunch, there was The Professionals,Richard Brooks's marvelous ode to friendship, loyalty, and disillusionment. It may not have the stylistic bravado or fatalistic doom of the legendary Sam Peckinpah film, but Brooks's storytelling is simple and steady and just as insightful. The difference is Brooks is a lot more optimistic. Lee Marvin and Burt Lancaster are buddies who have drifted into oblivion after fighting together in the Mexican Revolution. Marvin, the principled loyalist and munitions expert, lost his wife and his heart. Lancaster, the dynamite expert and unprincipled adventurer, keeps losing his pants. They team up with wrangler Robert Ryan and archer Woody Strode to rescue the beguiling Claudia Cardinale, who has been kidnapped by their old revolutionary buddie Jack Palance. So it's back into bloody Mexico they go on a "mission of mercy" for railroad tycoon Ralph Bellamy, who's paying handsomely for the return of his wife.

But nothing is what it seems in this exciting, existential adventure, which was beautifully shot by Conrad Hall. Sarcastic quips, philosophical musings, and heart-rending reversals underlie Brooks's humanistic sentiments. These are tired, world-weary men who somehow find the strength and the will to pull together for the sake of love and commitment. Through it all, Brooks seems to be lamenting a decline in professionalism much deeper than his story. He's decrying Hollywood and the society at large, anticipating Peckinpah's later strategy. --Bill Desowitz ... Read more

Reviews (30)

A Mule For The Marquessa

I think I know where I was on November 2, 1966; in a theatre watching THE PROFESSIONALS, for that was its theatrical release date.The movie is based on a western written by Frank O'Rourke entitled "A Mule For The Marquessa." Having read the book I wanted to see the movie.

Most other reviews here give this movie a good rating and review, and understandably so.This western movie to me ranks as one of my possibly 12 best, in equal standing with Arrowhead, Stagecoach, Valdez Is Coming, Ulzanna' Raid, Tall In The Saddle, and several Randolph Scott westerns. You get the picture, I think this is a very good western movie, one that I can watch over and over without ever tiring.

Part of the success of this film for me comes not only from the cast which is superb, veteran actors all, but from the way everything fits and works together. There is some comedy, some suspense, and finally a sense of justice but though this movie has all these parts in equal amount, there is still a chemistry present that for me just makes this one of the best western films ever made.

I've read the novel several times and feel too that the movie surpasses even the book which spawned the movie.If you like excellent western movies, do not miss this one.

Best Closing Lines Ever

A first rate adventure/western with Burt Lancaster and Lee Marvin at their macho best. This film has the best closing lines ever. Ralph Bellamy says to Lee Marvin, 'You bastard.' Marvin replies 'Yes sir, in my case an accident of birth, but you are a self made man.'

Thinking Man's Western
Oil Baron (Ralph Bellamy) hires four specialists(Lee Marvin, Burt Lancaster, Robert Ryan, Woody Strode) to rescue his young Mexicana bride(Claudia Cardinale) out of the clutches of a revolutionary (Jack Palance) from behind the Mexican border.Sounds simple? Not in this complex film.Our heroes are flawed, disillusioned men and the bad guys aren't as bad as they seem.Credit director-screenwriter for crafting a western that stands the conventions of the form on it's head and keeps you guessing until the bitter end.Marvin and Lancaster are in top iconic form here.Cardinale adds a voluptuous mystique to her character.Palance contributes a complex reading to a character type that in previous films of this kind were cliched.This film also boasts gorgeous cinematography courtesy of the legendary Conrad Hall, a rollicking score by Maurice Jarre, and action sequences that are at the same time thrilling yet make sense.

Nice transfer, but a serious flaw!
One of my favorite Westerns, THE PROFESSIONALS fully deserved the special edition treatment it gets here.The picture has been improved and the soundtrack newly remixed in both 5.1 and 3.0 Dolby Digital.Also, the supplements are wonderful, especially if you saw this film when it was new and have loved it ever since.

I do though have one serious complaint though.Who was the dummy who thought the English translation subtitles for all the Spanish dialogue should appear on the screen without the option to turn it off?They go to all the trouble of a fine high definition remastering then impose subtitles over it?Makes no sense. While I, who doesn't understand Spanish, appreciate finally knowing what the Mexicans are saying in this picture, I don't appreciate not being able to watch the movie without the subtitles.They should have only been included as an option.Someone at Sony Home Entertainment goofed here.

"The Professionals" gets a face lift in special edition
Henry Farden(Lee Marvin),Bill Dolworth (Burt Lancaster), Jake Sharp (Woody Strode)and Hans Ehrengard (Robert Ryan) are hired by the wealthy Joe Grant (Ralph Bellamy) to rescue his wife (Claudia Cardinale)who was recently kidnapped by Jesus Raza (Jack Palance) a revoltionary who served with Farden and his men under Pancho Villa and Zappa. As the wild west gradually disappears, these men get called on to do one last mission together. Richard Brooks'("Elmer Gantry", "Wrong is Right", In Cold Blood", "Lord Jim") well crafted movie bursts with sarcastic quips and brilliant action pieces.

Beautifully restored, there's a signficant amount of grain but that's not a surprise given the age of the negative and the type of film Brooks used to shoot the movie. There's not much in the way of dirt or debris execept during the opening titles. It adds to ruggedness and "authentic" feel of the film. Columbia-Tristar has sprung for all the extras for this special edition with the exception of a commentary track from a film historian or actress Claudia Cardinale (most of the cast and crew are dead)

Let's start with the good stuff first--should you upgrade to this edition from the previousone? Yep. this edition has a remixed 5.1 soundtrack taken from the original theatrical soundtrack elements. You also have the option of listening to it in 3.0 as well. This also was remastered in high definition so the picture quality is outstanding given the age of the film. King of the supplements Laurent Bouzereau produced three new featurettes for this edition. "The Professionals-A Classic" features director Martin Campbell, Kate Buford (who wrote a biography of Burt Lancaster), Claudia Cardinale Joanna Lancaster interviewed about this great western classic. There's a brief snipped of behind-the-scenes footage of Brooks on location (it's silent). Claudia Cardinale, Marie Gomez and cinematographer Conrad Hall give their memories of shooting the film illustrated with behind-the-scenes footage, stills shot for the film. At 23 minutes it's the longest of the extras included here. Joanna Lancaster takes the stage for a discussion about her father in "Burt Lancaster: A Portrait" sharing her memories of father and some of the movies he made during that time. Kate Buford also appears discussing both Brooks, Lancaster as well as the movie. Buford claims that Brooks and Lancaster looked at "The Professionals" as a metaphor for the what they did in the industry. Again, this a large amount of behind-the-scenes footage shot in 16mm. Joanna Lancaster makes a good point about the physicality of Lancaster's performances (much like Harrison Ford). I'd suggest not watching the extras before the film itself as they do give away some important plot points.

A brilliant leanly constructed western "The Professionals" tells as much story in its 117 minutes as some movies do in three hours. Columbia and Laurent Bouzerau have done a marvelous job of putting together this package.


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Reviews (43)

Bad history, good movie
Emilio Estevez, Charlie Sheen, and Kiefer Sutherland are just a few of the all-star cast who fill out this film about outlaws set in the old west: The story of Billy the Kid & Co. Aside from the fact that its historical accuracy is more than highly questionable, the movie was more than entertaining.

Emilio Estevez plays William H. Bonney, a.k.a. Billy the Kid who was a runaway and an alleged murderer, who was taken in by Mr. John Tunstall, an English cattleman. Tunstall was murdered by a rival cattleman, a Mr. Murphy, played by Jack Palance. The movie goes on from there with a killing spree of those who were responsible for the death of Tunstall. The acting was great. "Dick," played by Charlie Sheen, was very good and one of Sheen's better roles. Lou Diamond Phillips was absolutely amazing as the Mexican Indian: Jose Chavez y Chavez. Charlie, played by Casey Siemasko, was a great and devoted friend, to Billy, and to the rest of the "Regulators."

It is said that Billy the Kid was no where near as arrogant, nor as trigger happy as the film portrays, but Estevez was rather impressive in his skills both as an actor and a gunslinger. Sutherland's "Josiah 'Doc' Scurlock" was an admirable man; full of character and class given the circumstances. Terrance Camp's role as "John Tunstall" was short-lived but excellent.

This movie is highly entertaining. I recommend it to anyone who likes a good Robin Hood story (who isn't terribly concerned of historical accuracy). It is fun to watch, and the cast is second to none.

epc

Everyone will hack on you if you do not buy this DVD
Young Guns is definitely one of the best Westerns ever made. It is the story of how Billy the Kid and his legend was created. John Tunstall an English merchant takes in runaways and those on a downward spiral in life and in return for protecting his ranch from poachers gives them (his regulators) an education and board. After he is murdered by L.G. Murphy's men, Tunstall's regulators are deputised and set out to bring in those responsible. The Lincoln War is on and William H. Bony and the other regulators have prices on their heads.

The Young Guns DVD also contains a featurette, which was made in 1988. It's kind of a behind the scenes, interview with the actors type thing. It's quite interesting and a flash back to 1988 with mentions of Tom's Cruise latest movie being Cocktail re-enforcing this was made in 1988. Seeing Charlie Sheen, Emilio Estevez, Keifer Sutherland and Lou Diamond Phillips over fifteen years younger than today and hearing them talk about their careers to that point is also rather interesting.

I don't really like Westerns but I loved Young Guns. Check out the sequel Young Guns II as well.

an apology for a western that is not authentic
I always thought of this film as a western for young people. I don't understand the "brat pack" label. I could give some pretty friggin' nasty labels to some John Wayne films I've seen. And please don't tell me there's such a thing as a thinking man's western. Is Young Guns not a quality western since it lacks some vacuous, ponderous shots of deserts with a raspy-voiced squinty eyed god-fearing fat alcoholic moron squinting into the sun and speaking like a disgruntled janitor about how he's going to get his revenge on someone who done wronged him? I always though Young Guns was exciting and funny with a cast of youthfuls who make the 'mistake' of acting youthful in front of the screen. And as for Terrence Stamp? He's friggin' horrible! He gets blown off the screen literally and for which this viewer is eternally grateful. The only other actor miscast is Charlie Sheen. The rest of the cast is great. Jack Palance is comically unhinged as the true psychotic in this film. If John Wayne were in this film he would be a bearded bad guy who gets his brains blown out. And that's the way it should be. And one final word: why is it American films (particularly westerns) are always judged based on films that came before. In this case it doesn't make sense. Young Guns is influenced by some westerns, but in execution, tone, and style it is a complete original. It deserves mention with The Good, the Bad and the Ugly, Once Upon a Time In the West, My Darling Clementine, One-Eyed Jacks, Johnny Guitar, Butch Cassidy and the Sundance Kid, and Tombstone as one of the great westerns. But if you're over 21 just go get hammered and watch TNT to get your weekly western fix you friggin' republican.

Mindless Drivel of the Worst Kind
This is an utterly unhistorical movie. The real Billy the Kid was basically a loner who shunned gangs such as the "Regulators" bunch in this movie. One of the characters is a deputy marshal who throws away his badge and utters the usual lines about how the law is really on the side of evil. In this case, the ex-deputy joins the rest in a revelry of mindless violence all of which is committed in the name of a good cause, although it is hard to see how the violence did anything constructive.

Basically, this is just another empty action flick of mindless violence and mayhem with characters who have deluded themselves into thinking that they are the good guys. Worst of all, the movie basically portrays these juvenile delinquents as being on the right side. The idea that violence is an acceptable thing to engage in if you believe that you are in the right is just simply not the kind of message that Hollywood should be conveying to young people.

In summation, this is an awful movie.

Mindless western fun - but a classic it ain't
Brash, loud, and totally rock and roll, "Young Guns" is less a classic western and more a typical late 80s, early 90s action flick. And that's just fine. It's a stupidly fun, turn-off-your-head flick if you're willing to approach it that way. Watch it as a serious western, though, and you're likely to be disappointed. This is an MTV western. No more, no less.

Emilio Estevez puts a lot of energy into Billy the Kid, keeping the movie brisk. The rest of the cast are all solid, playing their clichéd characters as well as can be expected.

Compared to today's rapid-fire action, "Young Guns'" blast em ups might seem lacking and tame, but it all works pretty well (for what it is). The style is all late-80s -- flashy, loud and rude. Big gun shots, rock and roll soundtrack, and car chases on horses. If that's your thing, "Young Guns" fits the bill. It's pure Bs to the wall action.

But take note: If what you want is a strong western that lives beyond the genre as a standout film, western or not, you'd be better off seeking "Once Upon A Time In The West" or "Unforgiven." This ain't it.

The DVD is of fine quality. The picture has never looked better, the audio is very impressive, and the packaging will look nice on your shelf. The extras are pretty good, too. A nice behind the scenes featurette, an excellent documentary on the real Billy The Kid, and a decent commentary make this a great bang-for-your-buck buy. You can't beat the price.

As a DVD set for Young Guns fans, this is a five-star set (*****). As a film, this is a three-star film (***). For Amazon.com, I'm splitting the difference with four stars (****) ... Read more

Reviews (11)

A restrained treat
Of course this film is not explicit by current standards- it was released in 1968. If blatant expliciteness is what you want, you're looking at entirely the wrong decade. I still find this to be a most erotic movie. Romina Power is really very cute. The scenes of her chained and naked have given me quite a lot of pleasure. Depending on who you believe, she was either 16, 17 or 18 when this film was made. Whatever her age, in this film she had the most delightfully pert and un-enhanced late teen breasts. I've not seen a pair like it in real life or the media for ages. Ah, the memories! Nice close-ups of her bare feet, too.

Pretty Poor
If you are expecting an S&M feast, you will be dissapointed. I fast forwarded through most of this movie. Granted the lead actress is very atractive, but the "good" scenes are shrowded in this annoying green and red light. not worth it to be honest.

Mildly erotic tale, semi-explicit for the times.
This tale, like Eugenie, Her Journey Into Perversion, isn't bad, and fairly explicit, for the late 60's, but is still pretty tame, by today's standards. Has a weird appearance by Jack Palance, as a mad monk, or something. Also, a limited appearance by the late Klaus Kinski. Limited nudity and sex, but hey, what can one expect-it's fairly low budget. There are interviews and other features for the "technically" minded. Worth a look, but not worth the price I paid for it, or the other one-Eugenie. Minimal relation to the works of De Sade; which they, both, are supposed to be based on.

Fast forward review
For sex sleaze fans, any more sleaze on the DVD than on the tape? Nope, sorry, same scenes. The quality is very nice, so you'll never see the hankerchief-sniffing branding scene looking so good.

One thing I noticed in fast-forwarding through this awful thing (nice DVD advantage there), is that aside from the "M" scene there's really not much. The sixteen year-old Romina is stunningly cute, and you can clip the pictures of her hanging from a chain leaking poor quality Franco fake blood and doing a "Pretty Baby" couch turn, but the green and red lighting is actually not very erotic.

Most other sexploitation flicks have a lot more graphic nastiness, but the branding scene is a must, there's no question about that. One star for that, and one star for brief lolita Romina nudity, that's it.

Fun seeing Jack Palance soused --
As director Jesus Franco says in an accompanying interview, Jack Palance would start guzzling red wine at 7 in the morning the days his scenes were to be filmed, and BOY, can you tell it in the finished product! There are lots of pretty scenes, photography, costumes, people, etc., but it's mostly a bore. I recommend EUGENIE DE SADE for anyone dipping their toe into Franco .... ... Read more

Amazon.com

This is one of those noir gems about a love-hate relationshipbetween a husband and wife that's doomed from the very beginning. Jack Palance plays an ambitious actor rebuffed by playwright and heiress Joan Crawford. He later romances and marries her before falling under the dark spell of ex-girlfriend Gloria Grahame. When Palance and Grahame plot to get her fortune, the evil scheme backfires with ironically twisted results. Palance has no idea how much his wife truly loves him, and she has no idea how sinister he truly is. It's a fascinating if contrived film, with wonderful nuances and sensitive performances by the three leads. --B