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One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theater owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast, and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance--he's married and she's set to marry the slimy Lord Wessex (Colin Firth) in the near future.

The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant--it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will, and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed, and lovestruck--it's a performance worthy of Shakespeare in more ways than one. By the film's end, you'll be thoroughly won over--and brushing up your Shakespeare with newfound ardor. --Mark Englehart ... Read more

Reviews (456)

Not of an age, but for all time. And better on DVD
Purists who turn up their noses at Shakespeare in Love don't know what they're talking about - or rather, don't know what they're missing. This was, after all, written by Tom Stoppard, author of some of the very best plays of modern times (Arcadia, Rosencrantz and Guildenstern are Dead - the latter filmed with Gary Oldman and Tim Roth). He's done a splendid job of balancing accessibility with genuine wit. The screenplay is littered with allusions to the bard's works, and gives some great - albeit hypothetical - insights into how and why he wrote.

Beyond that, in true Shakespearean style, we are offered the "play within the play" - in this case Romeo and Juliet. Excellent editing gives us just enough to convey the mood of an Elizabethan performance, leaving us wanting more. This film does a great job of broadening the appeal of the most popular writer.

And don't miss the topical in-jokes - the "cabby" rowing the boat, and especially Glenda Jackson saying she knows what it's like to do a man's job (she plays "M" in the Bond movies). Bill S. would have approved. High praise indeed.

Top-Ten Romance, and One of the Most Clever Screenplays!
"Shakespeare in Love" is a triumph, pure and simple. With screenwriters Tom Stoppard and Marc Norman at the top of their game and feeding immortal lines to a top-notch cast, "Shakespeare in Love" could not fail to succeed.

The film opens with young Will Shakespeare (Joseph Fiennes) struggling with writer's block . . . he is clearly not yet the magnificent WILLIAM SHAKESPEARE (insert trumpets here), the world's most famous writer. Indeed, the top playwright of the age is Kit Marlowe (Rupert Everett), as Shakespeare is reminded several times. And young Will is also hopelessly infatuated with Rosaline, a woman completely unworthy of his affections.

After some psychotherapy that anticipates Freud, Will is no better. Still, heavily in debt, Will attempts to stage his next opus, "Romeo and Ethel, the Pirate's Daughter." Working with Henslowe (Geoffrey Rush, who would have stolen a lesser film with his perfect performance), who's also heavily in debt, Will seems headed for disaster.

That is, until he sees his muse, young Viola de Lesseps (Gwyneth Paltrow, never better). Smitten, young Will begins to write the romantic poetry that becomes "Romeo and Juliet." Viola, who recognizes Will's genius, meets Will through some classic Shakespearean disguises and mistaken identities. Of course, Viola is betrothed to a true slug, Lord Wessex (a plump Colin Firth), who plans to take her to Virginia in seek his fortune across the sea -- essentially sending her into exile.

Despite the roadblocks, Will and Viola are soon hopelessly in love. Viola, daring to breach the silly rule that only men can play parts on stage, has taken the role of Romeo by day. By night, Will and Viola write Will's most romantic play together.

"SIL" keeps the wheels turning mighty fast, and one of the joys of watching this movie over and over is catching a quick joke that you didn't get the first time around.

It's also a pleasure to watch this stellar cast go through its paces. While Judi Dench won her Oscar for her surprisingly brief performance as Queen Elizabeth, other actors turn in equally entertaining performances. Tom Wilkinson, Simon Callow, Martin Clunes, and Imelda Staunton each bring amazing proficiency to the supporting cast, and even the much-maligned appearance of Ben Affleck elevates the movie -- he is perfectly cast as a self-absorbed theater star (first line -- "What is the play, and what is my part?"). Affleck's comeuppance, when he realizes that he, as Mercutio, doesn't have the title role, is handled wonderfully well.

This is simply a movie that doesn't miss a trick. The film is shot beautifully, the extravagent costuming gets at the ridiculous conformity that we associate with jolly old England (and makes the torrid romance of Will and Viola that much more intimate), and the music is uplifting.

The film's final shot, as Viola walks along the beach and we realize that we've just seen the birth of arguably Shakespeare's greatest heroine, Viola of "Twelfth Night," is a masterpiece of powerful understatement.

This movie is simply a must for the film library!

A GOOFY YET DELICIOUSLY SEDUCTIVE ROMANTIC COMEDY!
The DVD casing claimed in big bold letters "Best Screenplay" Academy Award winner. I can surely see why! Must have been some deviously creative team that crafted this crisp comic period-piece.

The film is really two love stories: one a bawdy romance between two smitten humans, and the other an ode to the art of theatre. The writers'/director's love for showmanship is loud and evident throughout the brilliant screenplay, and if you're a fan of wordplay in any way, well then this is a surefire delight.

Both Paltrow and Fienners turn in lusciously romantic performances in their respective roles -- she pulls off the formidable order of gender-switching without a hitch, and he has just the right pitches and patterns for a young, struggling Shakespeare. Geoffrey Rush is magnetic as usual.

Don't be fooled by the Elizabethan accoutrements, this film and its arsenal of laconic quips could easily shoot several contemporary romances to dust. Buy this one in fact, don't just rent, it quite comfortably stands the test of more than one viewing..

Rush in an unforgettable role
Although Geoffrey Rush is not the star of the film, he delivers a memorable performance, as usual. Fiennes does, also. The costuming is very beautiful, and the humour is delightful. Highly reccommended.

Emotionally Fraudulent and Morally Offensive NON-Love Story
Before I start out, I should say that I am NOT one of those people who think they have to deride "Shakespeare in Love" because it's a "chick flick" and therefore unworthy(?!) of Oscars. Nor do I feel the need to condemn it for winning Best Picture over "Saving Private Ryan," as so many have done. I certainly do have a beef in that regard -- and it's that my own favorite film of 1998, "The Truman Show," wasn't even nominated for Best Picture! But none of these things have anything to do with my loathing for "Shakespeare in Love." My beef is solely with the offensive nature of the film itself. It's advertised as a love story, but is emotionally and morally empty when it comes to any notion of love.

You could see the writers straining to convince us that those two awesomely idiotic characters, Will and Viola, were really deserving to be the inspiration for "Romeo and Juliet." The film wanted to show that "the truth and nature of love" so magnificently expressed in Shakespeare's play resulted from this casual (and to my mind very unromantic) affair between a lying weasel of a married man, and an apparently dimwitted girl who can't be bothered to decide whether she wants to marry him or not, though she's being forced into marriage with a man she hates.

Starting out by having a man needing to fall in love for a mercenary reason -- so he can finish his play -- and then conveniently having him decide that the first pretty girl who comes along is the love of his life, doesn't strike me as a convincing way to start a love story. Did writers Marc Norman and Tom Stoppard really stop to think this out? From the beginning we know he's using this girl, and they never find a convincing way to show us that this ever changes.

The worst line in the film, to my mind, comes right after their first soft-core sex scene. Viola murmurs: "I never would have believed that there could be something better than a play -- even your play!" Will: "Huh?" Well, there goes any possible higher emotional or spiritual aspect to their relationship.

This is the deepest flaw in the movie (which was otherwise well acted, gorgeously shot and beautifully costumed). I could not enjoy it or buy into it in the slightest because the fundamental conception of the filmmakers was based on modern notions of love that don't go beyond the purely physical. Descriptions of love in Western literature have at least on occasion gone much deeper than that. The Will in "Shakespeare in Love" not only couldn't have written "Romeo and Juliet"'s dramatic sonnet "If I profane with my unworthiest hand this holy shrine. . ." he wouldn't even have been able to understand it.

Not to mention the glamorization of a man's adultery, and the strenuous attempts to avoid all the real-life emotional ramifications of such an action, in favor of a feel-good justification of it, in spite of the obvious harm to the young virginal woman who was used by a cad. But it's excused and made to seem no real harm, by having her anger abated by thinking Will is dead, then readily going back to him when she discovers he's alive (a cheap dramatic trick if I ever saw one). Above all, no matter what a real Elizabethan girl's attitude miught have been, Viola is made to adopt the "modern" attitude (love is just a "stolen season").

I think there actually could have been a believable story in the idea of Shakespeare falling in love while writing "Romeo and Juliet." Why not start with the historical fact that Shakespeare didn't even make up the plot of the play at all, much less make it up out of his own love life? In fact, "Romeo and Juliet" was an Italian novella that had gone the rounds of Europe, had been turned into a French play, an English poem and at least one preceding English play. What if Shakespeare finds himself adapting this love story, not believing in love, then actually falls in love in a way that resembles the plot of "Romeo and Juliet"? I think it would have been nice if he had fallen in love with a virgin like Viola, realized in all conscience he couldn't take advantage of her, and wrote his play out of his frustrated love, which he turns into art. I think it would have been more convincing. But of course then it wouldn't have been a Miramax film . . . ... Read more

Description

A retiring cop and his replacement track a psychotic killer who's using the seven deadly sins as a guide. Starring Brad Pitt, Morgan Freeman and Gwyneth Paltrow. ... Read more

Reviews (453)

A worthy addition to DVD Format
I love DVD's! Not only is the format superior to VHS, but it allows me to enjoy movies on multiple levels. Now, in the spirit of the Criterion Collection, we have 'SE7EN - New Line Platinum Series Edition' added to the ever expanding library of DVD's to choose from. (If you have not heard of the Criterion Collection, please search for titles that include this designation - you will not be disapointed!) Seven is a great film with superb writing, acting, direction, the whole shebang and I am not going to bore you with those details. This review centers entirely on the Platinum DVD Release - and I can honestly say that it is VERY worth the money you spend on it. The commentary by David Fincher is awesome, and the commentaries by Morgan Freeman and Brad Pitt expand the understanding of their characters. Beyond this, the professionals who work behind the scenes have their two cents to share with you as well, and they are quite informative. Exlporing the Title Sequence is invigorating, as are the animated story boards. But the true value of this DVD is in the animated Notebook of John Doe's writings. Talk about a glimpse into the mouth of madness! It illustrates the mind of the killer, played marvelously by Kevin Spacey, and blows your mind. Talk about over the top DVD extras! This two disk set will keep you busy for quite a while, and I highly recommend it.

Brilliant...and Disturbing.
I wish more movies like Se7en were made, and not because I'm into only creepy, unsettling films. Se7en simply doesn't pull any punches. The excellent characters, script, music, and atmosphere all work together to create the perfect canvas to paint this brutal tale of a serial killer that tortures and kills specific people in accordance with the seven deadly sins. Everything in Se7en has been tweaked to perfection. The movie captures your attention so completely that you can't look away, even at some of the truly morbid scenes. And let's not forget the acting! Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and Kevin Spacey are all simply outstanding. Every word they utter seems real, unlike most Hollywood films where the characters are contrived and simply not believeable. The ending is shocking and depressing, more than equaling the rest of the film.

As if Se7en wasn't awesome enough, the DVD is simply loaded!! This is one of those rare cases when a movie DESERVES to be stocked full of extras! Obviously, this movie is not for the squeamish or weak of heart, but anyone who can handle this kind of a movie will discover one of the best films of the 90's.

Morgan Freeman Is A Genius....
Robin Williams...Russell Crowe...Marisa Tomei...Angelina Jolie...Cher...How come these "actors"(& I use the term lightly)have an Oscar & Freeman doesn't? Between SE7EN & NURSE BETTY, 2 of the best performances of all time, there is something seriously wrong.. Watch this powerful film with a lead performance to match to cure any doubts...........

The Best of it's Kind
A series of freak murders. A detective ready to retire and a new detective make this film one of the best in the drama genre. Will keep you on your feet till the very end. A very similar idea as other inteligent murder mystery thrillers like "Kiss the Girls" and "The Bone Collector" but this is the best of the lot.

Terrible movie
I'm obviously in a minority here. But IMO the movie just sucked. The thing that irritated me throughout the movie was the darkness and by that I mean the absense of light. The lighting is artificially dimmed for effect and it just doesn't work. Nobody works and lives in such poor light. The black and white film noirs work beautifully, but this movie seems stage-managed. Amongst contemporary movies, the lighting in "Dark City" was very natural and fit in well with the theme of the movie. This is a one gimmick movie and it got old within the first 5 minutes. I count this, along with "Absolute Power" and "Behind Enemy Lines" as amongst the worst 10 movies I have seen. ... Read more

Reviews (195)

An all-around superb film
For some reason, people who see this movie either completely adore it or completely despise it. I will never understand those who despise it, because Emma is one of the most well-made movies I have seen. The entire cast is wonderful, with almost all of the actors accurately portraying the characters from Jane Austen's novel (which I believe everyone must read before they can fairly judge this movie). The score was excellent (apparently the Academy agreed) and the costumes were beautiful. Considering that Austen's novel is more than 400 pages long, I would have to say that the director did a fabulous job of turning it into a two hour movie. Gwyneth Paltrow is the exact Emma I envisioned when I read the novel for the first time, and Jeremy Northam is absolutely adorable as Mr. Knightley. The humor is subtle, but that is characteristic of most of Austen's novels. Despite the quality of this film, it's probably not for everyone. The language may be hard for some to take for two hours, and it is a period piece, which not everyone enjoys. However, I would still recommend this movie to anyone.

Brilliant in so many ways
Being a die-hard Austen fan, I couldn't resist watching this movie. Emma Woodhouse's story has always been my favorite of
Austen's efforts, and I am always glad to see her work brought to the screen. I was VERY pleased with this film.

Casting was well done. Northam provides a sturdy, but not overly-stern, Knightley, and Paltrow does an amazing job of convincing us that she is, indeed, British in her portrayal of Emma. Her accent is nearly flawless, and I felt that she truly captured the personality of Austen's most spoiled heroine. The sets and lighting are bright, airy, and perfectly suited to the comedic approach taken by this particular director. The scenes are edited just brilliantly. Each scene flows seamlessly from one to another, and the pace of the plot runs along just perfectly. It moves fast enough to keep everyone interested and slowly enough to make sure that everyone has enough time to absorb what's going on.

The criticism I've heard most often is that the film really only touches on the Jane Fairfax/Frank Churchill subplot for the briefest of moments. I did not find that to be injurious to the film. It's plain, while watching this version, that the director wanted to keep the story light and funny. Adding Jane and Frank's saga would have done two things: First, it would have seriously darkened and dramatized the bouncy and bright atmosphere of the entire film. Second, it would have taken the spotlight off of Emma Woodhouse as the focus of the story. I felt that, given the abbreviated length of time that a movie has in which to communicate a story...the omission of Frank & Jane's affair was a wise choice.

The second criticism I've heard of the film is that it's just too clean and "pretty" to be accurately representative of Regency England. Again...this didn't bother me. The focus of this film is NOT to be true to history. It is not a Regency documentary. It is a fun and aesthetically pleasing depiction of Emma Woodhouse and her friends. It's romantic, funny, charming, and very very pretty to look at.

I loved it.

Misguided, but somehow pleasing.
There's no reason this should work as well as it does. This is a very broad adaptation and the performances in general are unsubtle and broad as well. Ms. Paltrow's accent is heinous, and Ms. Collette's work is frankly annoying (though that is in part as written.) As the movie moves from set piece to set piece, lingering endlessly on the beautiful design, one can't help but think that if Ms. Austen's Emma had actually had so much to do, she'd have been little bored enough to spend so much time meddling in her friends' affairs. But in the end, the good will evinced by all involved somehow makes a film that charms very much in spite of several and severe flaws. The BBC version of Emma is much superior in adherence to the Austen story, and Clueless certainly has the edge for humor, but this is a fair adaptation that ultimately is more success than failure.

Love this movie!
Beautiful people, clothes, quirky characters and a flawed Emma make this movie enjoyable time after time. There aren't a lot of movies I can watch multiple times, but this is one I always enjoy!

Paltrow and Northam light up the screen!
Whether you've read the novel or not, this movie adaptation is enjoyable to watch. The characters are so vividly brought to life that it's impossible not to feel their joys and their sorrows. Paltrow is adorable as the young Emma and her scenes with Mr. Knightly (Jeremy Northam) spark with romantic chemistry. Mr. Knightly comes off as charming and very handsome thanks to Northam's own charm and classy good looks. Miss Bates makes you laugh but at the same time, she breaks your heart. Great sets, scenery, and acting by entire cast. Highly recommended! ... Read more

Description

Royal Tenenbaum (Gene Hackman) and his wife Etheline (Anjelica Huston) had three children-Chas, Margot, and Richie-and then they separated. Chas (Ben Stiller) started buying real estate in his early teens and seemed to have an almost preternatural understanding of international finance. Margot (Gwyneth Paltrow) was a playwright and received a Braverman Grant of $50,000 in the ninth grade. Richie (Luke Wilson) was a junior champion tennis player and won the U.S. Nationals three years in a row. Virtually all memory of the brilliance of the young Tenenbaums was subsequently erased by two decades of betrayal, failure, and disaster. The Criterion Collection is proud to present Wes Anderson's hilarious, touching, and brilliantly stylized study of melancholy and redemption. ... Read more

Reviews (601)

A cast fit for a king.
Three words come to mind when trying to describe Wes Anderson's "The Royal Tenenbaums" in a positive manner: quirky, witty, and delightful. I also have three words for the film: long, laborious, and quirky (I say quirky twice because it works for and against the movie). As an exercise in subtle humor and acting zeal, Anderson's much-anticipated follow-up to his acclaimed "Rushmore" hits all the rights notes, but his style and storytelling are hit-and-miss, and the slight moments of comedic brilliance are few and far between.

If for nothing else, you must see "Tenenbaums" for its terrific cast, led by Gene Hackman as Royal Tenenbaum, the matriarch of a family destined for dysfunction from the minute he said "I do." The movie begins with his divorce from his wife, Etheline (Anjelica Houston), which has some serious effects on his already-otherworldly children, Chas, Richie, and Margot, the adopted daughter whom Royal sees fit to disclude from major family events. As the children grow in the education-oriented household of their mother, they go on to become great successes in their time, eventually going their separate ways into adulthood.

Picking up many years later, everyone is much older, and things have changed. Margot has lost touch with her play-writing ability and confines herself in the bathroom endless hours of the day. Chas sees it fit to hold emergency fire drills for his two children as a result of the death of his wife. Richie has been sailing around the world, all the while thinking of Margot and falling in love with her. Ethel is on the brink of marriage to her business partner, Henry Sherman (Danny Glover), and Royal is flat broke and in need of a place to stay.

I must say, I think this is probably the best ensemble cast for a movie since Paul Thomas Anderson's "Magnolia." Hackman is anything but lacking in his performance as a man who knows exactly how his family and friends feel about him, and doesn't give a second thought to it. He has a delightful way with words that makes Royal a real treat to watch, adding small touches of comedy to scenes that would otherwise be melodramatic. His scenes with the equally brilliant Houston are funny and engaging; Houston, after a somewhat lengthy absence from the screen, manages to employ a real sense of motherhood in her character, the kind of warmth and quirkiness that one easily warms to.

As adults, the Tenenbaum children are played by Ben Stiller, Luke Wilson, and Gwyneth Paltrow. Stiller, as Chas, exacts a frantic sense of paranoia that will later become the tie that binds him with his father, and carries it off with humor and zeal intact. Wilson, as Richie, is kind and caring, seeing people for their good rather than their bad; as Royal's sole companion throughout much of the film, he will try to use this to keep his family together. As Margot, Paltrow almost steals the show all for herself, playing her character's depression and restrained angst in a manner that brings to mind Thora Birch's character in "Ghost World."

The story hook comes when Royal announces his impending death, which gives him cause to seek out his family and reconcile with them within the six weeks he has been given to live. Of course, we soon know he is not really dying, but the change in him as a result of being surrounded by his family is quite evident, and his quest takes on a greater meaning. All the while, each of the characters is subjected to some part of their past, or their present fears and inhibitions, and must learn to realize them, face them, and overcome them. This allows the cast to really show audiences what they are made of, accepting the challenge of portraying each Tenenbaum's personal struggle realistically; of course, they succeed in doing so.

This is all done in an absolutely off-the-wall approach by director Wes Anderson, who employs such an offbeat feel that it almost becomes unbearable. I was tickled by the fact that no one hardly ever changes clothes throughout the movie... Paltrow with her single red hair clip, Luke Wilson with his headband and sunglasses. The opening credits and title sequences, the music (including the classic Peanuts' theme "Christmastime Is Here"), all strive to elevate the movie to a magical level, but the heavy reliance on quirkiness, as well as a stark absence of continuous comedy, all seems to overpower the potential that it has. It uses the wit of its cast to its advantage, but there is nothing within the story that will provoke a guffaw instead of a mere grin or a chuckle here and there.

Looking back on "The Royal Tenenbaums," I realize that my reservations about the movie are my own fault: I expected too much in terms of outright humor. The laughs here is subtle, which is a tough pill to swallow at times, especially when the material shows great comedic potential. Overall, I enjoyed the movie for much of its dry humor, its strong characterization, and its wonderful use of such a brilliant cast.

The Funniest in Years
Some said Wes Anderson got cocky. He had just directed two wildly popular indie films ('Bottle Rocket' and 'Rushmore') and wanted to do something big. With a big ensemble cast and a better budget, Anderson and co-writer Owen Wilson have delivered the funniest movie in years, and one that will definately be remembered.
Royal Tenenbaum (played with pinache by Gene Hackman) has spent the last 22 years of his life in a hotel after an ugly seperation from his wife, Etheline (Anjelica Huston). Etheline raised their kids in the house at 111 Archer Avenue with strange results; the children are brilliant, if not a bit eccentric. Chas was buying and selling real estate in his early teens, Margot (the adopted one) wrote successful plays and got a $50,000 grant in the 9th grade, and Richie was a tennis pro at a very young age.
Years later, after Chas' (Ben Stiller) wife dies in a plane crash that he survived, he moves back to the house at 111 Archer with his mother. When Margot (Gwyneth Paltrow) hears of this, she moves back as well, as she's unhappy with her marriage to the neurologist Raleigh St. Clair (Bill Murray). Richie (Luke Wilson), who has been traveling abroad on a cruise ship for many years, returns home also. Even childhood friend Eli Cash (Owen Wilson) comes back.
When Royal hears that everyone is back together, he wants to get to know them and make amends for his past inadequacies. This is not an easy thing, because the whole family (with the exception of Richie) distrusts him. So, he lies to Etheline and tells her that he is dying, and wants to spend the last 6 weeks of his life with the children. Chaos (and subsequent hilarity) ensues when Etheline's latest suitor, accountant Henry Sherman (Danny Glover), exposes Royal as a fraud.
This is in all actuality a dark comedy. There are several references to death and even a graphic suicide attempt. You're asking yourself, 'how can this be funny?'. To tell you the truth, you have to see it for yourself. Like TV's 'Everybody Loves Raymond', much of 'The Royal Tenenbaums' is predicated on reaction and subtlety. The quirky characters are endearing and the relationships between those characters are even juicier. for example, Margot is married to Raleigh, but is having an affair with Eli. Eli's best friend Richie has loved his adopted sister Margot "since forever". See what I mean?
If you enjoyed Wes Anderson's last two films, you'll definately like this one. Fans of Gene Hackman, Ben Stiller, or the Wilson brothers must own this movie. The acting is great, the story is brisk, and the comedy is off the charts. Add this to your collection today. You will NOT be disappointed.

sooooooooo freakin good
this is a great great movie. It's funny, touching yet stylish in the most stunningly odd way. Wes Anderson is a genius and the entire cast does an A+ job. I just love this movie soooo much!

A genuinely wonderful movie..
I usually prefer older movies, but this could possibly be my favorite movie of all time. The script it brilliant, it's hilarious and touching. There's sorrow in the humor that makes it seem very real. The movie is very observant of human nature, and very insightful. It's also accompanied by a wonderful soundtrack, that compliments the dialogue and camerawork beautifully.

the best benn stiller movie ever
I am a skeptic on some prticular actors and actresses, and it so happens that two of them were in the royal tenembaums. Of course I'm referring to Luke wilson, and ben stiller.

Stiller has done nothing for me since appearing in theres something about Mary. He falls into this habit of playing the same two characters in every movie. The nice quiet innocent character who alway seems to be thrown to the wolves. nut stuck in zipper, crap on your dates especially favorite loofa, etc, etc. And of course there's the Ben stiller who is just a total jerk. In tenenbaums, Stiller actually flexes his acting muscles creating a new image of him and lodging it in my brain. Wow!! i guess he can act.

As for Wilson i didn't favor him simply because of the god awful shanghai movies. I admit now that was unfair Luke Wilson has my respect now. Not that he cares, but hey.

Ok well enogh rambling the movie was excellent and the charcters were very well thought out, particularly Margot. I will agree with a former reviewer in that the film was a bit tedious, but you win some and you lose some. ... Read more

Reviews (232)

very romantic
Shallow Hal is indeed funny as all hell, with the inimitable Jack Black playing Hal, who as a young boy is told by his dying father, a reverend on painkillers, to seek out "young hot tail --- that's what it's all about." Hal grows up to be this clubbing lizard going after supermodel types at all times.

One day he's stuck in an elevator with guru Tony Robbins, who changes his perception to only see the inner beauty (or lack thereof) in everyone he meets (excluding people he already knows.) Hal suddenly starts seeing raving beauties everywhere, including Rosemary (Gwyneth Paltrow), his boss's daughter who is actually severely overweight.

It's romantic to see Rosemary's self-image change as she realizes Hal really does think she's beautiful, after going for so long convinced that she's not. Hal, in turn, sees her as without physical flaws and so, instead of looking for any, he gets to know her as a person, something he's never done before.

This is a great date movie, and it makes you examine if you're shallow or not when it comes to people's appearances vs. their souls. It's a great concept, and ingeniously acted.

Not hypnotized...but de-hypnotized!
Everyone probably knows the plot by now: Hal (played by Jack Black) is as shallow as any typical young heterosexual male who prefers only the best-looking females, as opposed to going for females with good-natured personalities (with physically undesirable aspects.) All of this changes when a twist of fate brings him into contact with a motivational speaker (Tony Robbins.) He then gets hypnotized into seeing the inner beauty of people (which comes off as gorgeous physical appearances), as opposed to seeing their so-called "undesirable" physical attributes. He meets a gorgeous gal named Rosemary (played by Gwyneth Paltrow), and falls for her. Little does he know that she's a grossly overweight female, as opposed to the tall, thin, blonde-haired bombshell that he sees (as the result of the hypnosis he's undergone.) Meanwhile, his close friend (played by Jason Alexander) notices the change in Hal's perceptions, and tries to figure out the cause of this.

While many people note the change in approach from The Farrelly Brothers' normally immature, gross-out comedies, I have to venture to say that this change isn't as large as some note, but nevertheless, it can be spotted. Although There's Something About Mary featured many immature gags revolving around bodily fluids and such other seemingly taboo subjects, underneath it all, I found it to be a poignant (although kooky) love story with heart and a message. However, what makes this change more relevant, is that the gross-outs are toned down considerably, and the poignant aspects are not camouflaged. While the movie does have it's humorous moments (Jason Alexander's character in general was the funniest thing about the movie for me), I hesitate to call it a non-stop laugh fest, and is not in the same league as other typical comedies. Jack Black in particular didn't crack me up as much as he did in say Orange County. This isn't a bad thing, as his character is mostly the central focus in the film, and it does not represent anything as remotely silly as what was featured in the aforementioned film. Instead, he takes on a more ambiguous role - one of which exhibits a balance of subtle humor and good-hearted thoughtfulness.

I rate this 4 stars out of personal preference, but this film is quite clever with it's ingenious use of dialogue, as well as exhibiting a nice balance between subtle humor and thought-provoking attributes.

the last guy is stupid
i dunno what the last guy is talking about this movie has a good message about not judging poeple by their outside self alone but to judge their personalities as well as what we see. he must be extreamlely stupid to say that this movie didn't say that sucessfuly when it did in reality. that or he must be as shallow as the characters are in teh movie. i'm in the 7th grade and even I know what the message of shallow hal is. shallow hal is a funny movie, and despite what the last nimwit tried to say (i think he/she was trying to sound all smart when he/she is really a duma$$) the movie teaches us that beauty isn't only skin-deep! also about the spell, it only works on people hal hasnt seen before, so his nieghbor and best friend are supposed to appear as normal (and rosemarys dad as well) so that flaw people are complaining about is also not correct. i love this movie so stop reading this and go see it NOW NOW NOW!

The real moral here
What I learned after watching this movie is that if someone who is extremely shallow and only pursues hotties suddenly becomes successful with hotties, he/she will one day instantly lose his/her shallowness. Why did I learn this instead of what the Farrley brothers set out to teach us? Simple: the stupid spell that Hal (Jack Black) was put under was garbage! In the beginning, he pursues hotties who reject him (who are hotties in reality, at least according to standards of society). After the spell, guess what? Surprise surprise.......he still pursues hotties (only this time, he's the only one who sees knock-outs; everyone else sees....well....what society has deemed less than knock-outs). He is still only interested in scoring with supermodels, and what really bothered me was the conversation Hal had with Mauricio (Jason Alexander) after he removed Hal's spell, and Hal could no longer locate the hottie he once saw sitting at the restaurant, known as Rosemary (Gwyneth Paltrow). Hal goes balistic on Mauricio, because "I had a beautiful, intelligent, funny, (blah blah blah) woman, and YOU MADE HER DISAPEAR," proving without a doubt that he still is shallow after the spell! All of her good qualities dissapear, only because her looks aren't a 10, and we are supposed to believe that Hal is turning over a new leaf? What sucks more is that, for no logical reason, the first time Hal looks at Rosemary (for real as an obese woman, and knows that it is her), he can instantly not only accept her, but want her. THIS ISN'T REALISTIC, PEOPLE!!! People who are shallow their whole life and don't look past the surface of people can't, in the blink of an eye, desire someone who physically, most people would consider a reject (wouldn't that be nice!). Basically, this movie wants us to believe that there's an on/off switch in our brain that can be flipped at-will to make us attracted to people we've never been attracted to before, which is completely untrue. This is why the transformation this movie tries to show us via Hal lacks logical soundness, and why this movie fails to teach us anything. While I did not find this movie offensive (it was actually quite funny at times, thanks to our three leads), I did finish the movie questioning how deep shallow Hal had managed to become.

Good comedy; too many awkward moments
Jack Black and Jason Alexander are masters of the art of comedy. We all know Alexander from the show "Seinfeld" (I think he and Cramner are much funnier than Seinfeld himself), and Jack Black is in the band Tennacious D (sp?), and has been in such movies as High Fidelity and Orange County. In Shallow Hal, these two don't dissapoint, especially in the scenes where they are together. I was on the floor laughing during the scene where Mauricio (Alexander) and Hal (Black) are at the bar and Mauricio first notices that Hal is dancing, and ultimately desiring, people that most Americans would find physically unatractive. Also, Gwyneth Paltrow plays her role very well, and isn't a sappy romantic leading woman like most are these days (ehhhhem.....Julia Roberts). She plays Rosemary, a kind, but overweight woman who, after some therapy that only allows him to see the inner beauty in future woman, appears to Hal to look gorgeous. This should, potentially, set up some very funny situations, and it does at times. However, it doesn't always tend to.

More often than not, this sets up too many awkward situations where realistically, Rosemary would have said something like "I never wanna see you again, you a$$hole!" Such moments include the scene where Rosemary and Hal are at lunch after they just meet, and the two argue about her beauty. Hal tells her that she must be "what.....110, 112 pounds?" I don't know in what world the directors must have been in to honestly let that one slide, but most overweight women would have slapped Hal, and been out the door. And that's just one of many scenes like it. They make the some parts of the movie uncomfortable to watch, at best. Fortunately, Black and Alexander manage to keep you laughing after scenes like the aforementioned. The second flaw in this movie is the spell that Hal is under. If the spell was supposed to make Hal see the inner beauty in people, then their looks should not have changed. In other words, this spell that Tony Robbins (Anthony Robbins) puts Hal under doesn't allow Hal to beomce less shallow; he STILL only goes after women who look like models to him. So, all of a sudden, at the end of the movie, he is instantly able to look past Rosemary's weight, and falls for her THE FIRST TIME HE SEES THE REAL HER! Bogus!!! I don't buy it one bit!! However, the amount of genuine laughs this movie contains still merit it 3 stars. ... Read more

Amazon.com

Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies, and its central idea--the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow--is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the center of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch) and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: The two scenarios are so romantically imbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment, and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself, but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. --Jeff Shannon ... Read more

Reviews (194)

SLIDING DOORS: Safe!
Without spoiling the end for you, I can say SLIDING DOORS shows God may have a plan for you in spite of your own free will. Excellent performances by supporting players Jeanne Tripplehorn, John Lynch and the comic actor (I forget his name, but he's a hoot) who plays Lynch's best friend provide SLIDING DOORS' most memorable scenes. See SLIDING DOORS.

Answers the question, "What If?"
This movie had an original idea with great acting and script too! The ending was good but was a little shocking and disapointing (if you saw it you know what I mean). After I saw it, I couldn't get over the ending. But I loved it and enjoyed it very much especially main male lead who played James!! He's so adorable in the movie!

i like this movie!
Gwyneth Paltrow was doing a great job. She acts even better than Seven

What if....
Ever spend your time wondering what would have happened if you had gone to the movies with your friend? Or if you just hadn't said no to that guy/girl who asked you out?Then this is the movie for you! Here we see Helen (Gwyneth Paltrow) go two separate ways - missing the train, and if she had made the train. You'll see how split second occurances can affect your life.

Very intriguing, one of my all time favs
I loved this movie this first, second, third.... time I saw it. The story is so original and keeps you guessing until the very end. It really lent me a new perspective on life and how things can change (for the better or for the worse). Although it is a "Chic flick" I think anybody would enjoy the message. Superb acting and very funny. ... Read more

Reviews (141)

Very Under Rated
I saw this movie in the theaters and didn't like it that much. Stay with me... Then after i thought about it a while, I really couldn't stop thinking about it. I saw the movie again, and i think it's excellent. It's just a really really great movie, unfairly ignored by critics.

good flick.
first time, caught the movie in progress while cleaning house and wound up glued to the sofa and late for an engagement. had to see the entire film later. really, really good!

The greatest movie from a novel !
I loved Great Expectations. Ethan Hawke and Gywneth Paltrow give exceptional performances in the film. I have always liked Gywneth Paltrow's films, and this is my favirote that she has done. Ethan Hawke is also very good. He looks as cute as ever!

It Aint Dickens, It Aint Sexy, It Aint Good
This film prizes beauty -- and rather vapid, sexless beauty at that -- over narrative cohesion or strucutre. The kind of film a foreign audience might like, since it's light on dialogue on heavy on lush, overwrought, pretentious and simple-minded imagery, GREAT EXPECTATIONS fetishizes its skinny, pale movie stars like a fashion magazine. See this director's magical LITTLE PRINCESS, and shun this studio atrocity. One happy note though: ETHAN HAWKE has never looked better.

The BEST film I have ever seen!
If have not cryed for a long time, but this film made it verry easy. It is a realy good film, and many of my frinds here in Germany love it, too. Now I have to order it in the original english version of the film. ... Read more

Amazon.com

The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million fortune. The marriage is not a happy one, but the promise of long-term affluence keeps them together. The wife pursues an affair with an artist (Viggo Mortenson) who gives her all the passion she doesn't get at home, and when the husband finds out, well ... someone's going to pay with their life. Who will the unlucky one be? We wouldn't dare spoil the elegant plot twists of this devious thriller, but it's well known that Douglas excels at portraying greedy characters with ice in their veins. Here, it's easy to assume that Douglas has pulled off, as the title implies, a killing that nobody will ever pin on him. But this is the kind of glossy thriller (loosely inspired by Alfred Hitchcock'sDial M for Murder) that delights in disrupting your expectations, so it grabs your attention right up to the final scene. It's a bit too cold to really draw you in (hey, these are not very nice people we're dealing with here!), but with its able cast and stylish direction by Andrew Davis, this less-than-perfect murder thriller is still definitely worth a look. The widescreen Special Edition DVD includes audio commentary by Michael Douglas, Andrew Davis, and producer Peter McGregor Scott, an alternate ending deleted from the finished film, and sketches by the film's costume designer. --Jeff Shannon ... Read more

Reviews (55)

Not a very good Plot filled with Decent Performances
Why would anyone make a movie about Kareoke is beyond me, and that is what Duets is about. A bunch of [down and outs] who love Kareoke...it's even a dream for some of them. The terrific ensemble do what they can with the boring premise and make it semi interesting. Gywneth paltrow surprisingly is the standout as she portrays an 18 year old who meets her estranged father for and accompanies him to the Kareoke contest. Paul Giamatti and Andre Braugher are fantastic as a duo who hit the road together and have wonderful chemisitry on screen, and Scott Speedman from Felicity is very charming as a down on his luck taxi driver. However each scene drags the because of the bad direction and silly dialogue. Overly long and taken too seriously. I was hoping for more of a movie that was similiar to the kareoke scene in My Best Friends Wedding. This movie is nothing like that. For hardcore kareoke fans and Gwyneth fans only!

American Idol?
I saw this movie only after buying the sountrack. The song Cruisin' attracted me and I had to buy the whole CD to get the one song. When I eventually saw the film, I liked it more simply because I was already familiar with the music. If I didn't know the songs, I may not have liked to movie as much because Karaoke and stars-in-the-eyes wannabe crooners in the boondocks don't really inspire me. Overall, I enjoyed it - certainly more than watching American Idol, the only other show I can compare it to in terms of showcasing aspiring performers.

one outta three
Of the three stories this movie gives us about people brought together around the world of Karaoke (in pairs, thus "Duets") - one absolutely kills me (in a good way) - and for it I give the movie five stars. That is when Paul Giamatti's Todd Woods has a marvelous life-altering breakthrough/breakdown, realizing that his life, as situated in the so-called American dream (which he makes several interesting comments on after he has wigged out, like how America has turned into a land of strip malls) - is rather empty and meaningless. Such a mid-life existential crisis is not exactly uncommon, but it is his portrayal of this, the exhuberance of that performance, that makes the hair stand up on the back of my neck even after watching it for the third time. And the ending of that story, although not completely satisfying and a little far-fetched, it quite something, too. As for the other two stories, one I would give maybe three stars (Gwenyth Paltrow and Huey Lewis doing their father/daughter thing - her beautiful voice in "Cruisin'" would merit all three of those stars but little else), and the final story leaves me so cold and works so poorly that I fast-forward right through those parts. I love the music in this movie. I'm not sure if all the actors sing, but if not it is expertly dubbed. Great choice of songs, great performances of those songs. Despite the inconsistency of the quality of the three stories, this is an unusual, fun, interesting movie with a lot of heart and a lot of spunk and great music, that should not be forgotten (rip Bruce Paltrow). And ultimately, for me, its all about Paul, Paul is my boy. See it to see that performance, people. I don't think you'll be disappointed.

laugh out loud
Ok...I think most of us out there hate Karaoke but this movie was a laugh out loud kind! It does contain some very good performances by Speedman and others! I really liked the school teacher....made me laugh so hard I almost wet my pants! It's a fun ride with a sappy ending that we all knew was going to happen and man Paltrow can sure sing. That's worth seeing the movie for in my book!

Good Movie!
I saw this movie on TV on Encore network, by far its one of my favorite films. After cranking it up on the Klipsch Heresys i liked it even better. Awesome music, Good actors, Great Film. ... Read more

Description

A retiring cop and his replacement track a psychotic killer who's using the seven deadly sins as a guide. Starring Brad Pitt, Morgan Freeman and Gwyneth Paltrow. ... Read more

Reviews (2)

Dark and graphic masterpiece
This movie is great but graphic. The whole movie is very dark and has a sinister feel from the very begining. Two cops find themselfs in the middle of a serial killers spree. One cop (Morgan freeman) is just about to retire from the force the other (Brad Pitt) just joined from another dept. They soon find out that the killer is killing as part of a sick and twisted plan and riddle that leaves the cops empty handed. They quickly realize they don't have much time to capture the killer. This movie will keep you guessing to the bitter end. One of the best movies I have seen. So turn the lights out, and some popcorn and enjoy!!

He's just getting started.
Morgan Freeman and Brad Pitt make a dynamic combination, one old and cynical, the other young and idealistic. Both come to grips with personal demons, while hunting a serial killer who is not in a hurry. Kevin Spacey gives one of his most chilling performances. Visually graphic, it keeps you guessing right to the end. Bless me Father for I have sinned. ... Read more

Reviews (335)

No sense of pace whatsoever
THE TALENTED MR. RIPLEY is really a shame. Here are all the elements of an engaging, literate thriller--decent performances, a remarkably disturbing and insightful story (thanks largely to Patricia Highsmith's novel), a chillingly atmospheric score, and a well-realized sense of time and place. The trouble is, I didn't give a damn. This movie is so poorly paced, so slow and uninvolving, that watching it is like trying to slog through a pond of molasses.

It doesn't help that Matt Damon is the wrong choice for the elusive psychopath, Tom Ripley. Damon isn't a bad actor, just a miscast one, and while he nails the various impersonations Ripley must perform and seamlessly switches between identities, he never really fascinates or enthralls on-screen. It also doesn't help that Jude Law, as Dickie Greenleaf, completely upstages Damon in an Oscar-nominated performance that's equal parts fire and ice. The only character less interesting than Ripley is Dickie's long-suffering fiancee, Marge, played by a terribly dull Gwyneth Paltrow, who looks almost as bored by the story as I was.

There are a few great, nail-biting scenes that expertly raise the tension, including the murder sequences and a climactic confrontation between Ripley and Marge. If only the rest of this movie were as rivetingly suspenseful. The denouement takes about half an hour to unravel--I soon lost count of the number of times I thought, "Oh, good, this is finally wrapping up" before the script dashed my expectations by plunging ahead with some new plot contrivance that would require an extra ten minutes to play out. Even at under two and a half hours, this movie feels eons longer than an equally self-indulgent project like...oh, say, TITANIC. The truth is, RIPLEY is smarter, craftier, and more psychologically plausible than TITANIC ever was. It's not a better film, though. How sad is that?

CLASSY & INTELLIGENT THRILLER
Mistaken for a Princeton graduate whilst wearing a borrowed blazer, the low born New York charmer, Tom Ripley (Matt Damon), is dispatched by rich businessman Herbert Greenleaf (James Rebhorn), to travel first class on an all-expenses-paid mission, to bring his errant young playboy son, Dickie (Jude Law), back to New York from his champagne and party filled life on the Mediterranean. However, on meeting the handsome and charismatic Dickie (and his equally attractive girlfriend), the awestruck Tom falls for his charms and an ambiguous relationship begins. Tom, the social chameleon who has talents for forgery and impersonation, feeling that he cannot enter this world as himself begins to transform his identity, by learning new skills, studying jazz, art, geography and foreign languages. He not only changes his clothes he also changes his character. Meanwhile the innocent and trusting Meredith (Cate Blanchett) who met Tom on his arrival in Europe accepts Tom as an equal because she thinks he is Dickie Greenleaf. But all is not well in the playground of the rich, for Dickie is in turns as unpleasant and rude as he is debonair and charming, and soon he and his rich friends begin to tire of the financially inferior and all too clingy Tom, who has no intention of being cast adrift, for it is his belief that "its better to be a fake somebody than a real nobody"...

The Talented Mr Ripley subtly portrays the hedonistic lifestyle of rich, young Americans in the 1950's. In the movie, Tom is less the casebook amoral psychopath of the novel and more a victim of class in his desire to be like the rich but cruel Dickie and Freddie. The film is, however, anything but simple and only about an hour in does the film become anything approaching an orthodox thriller. You are kept hooked throughout as we guess at Tom's motives..., which is at best ambiguous. We observe the mercurial Dickie toy with his affections, whilst Dickie's girlfriend Marge (Gwyneth Paltrow), aware of Dickie's weaknesses, looks on.

Although fans of the novel may be unhappy with the liberties taken with both the plot and the characters from Patricia Highsmiths novel, most people will agree that Anthony Minghella has done an excellent job in imaginatively and successfully bringing The Talented Mr Ripley to the big screen. Not only does he direct this excellent and very intelligent thriller with a sure and subtle touch but he perfectly captures the beauty of the mediteranean, as the movie moves from one spectacular venue to another; from San Remo to Naples, Rome, and Venice. It also stars a top notch and perfectly cast array of the worlds finest young actors, including Matt Damon (Good Will Hunting), Gwyneth Paltrow (Shakespeare In Love), Jude Law (A.I.), as well as Philip Seymour Hoffman (Happiness) and Cate Blanchette (Elizabeth), all on top form. Damon's Ripley is an odd figure, his cumbersome awkwardness contrasting perfectly with Jude Law's cool and casual arrogance as Dickie Greenleaf, lolling around on his Riviera deck-chair as if the world owes him a living. And, although Matt Damon is truly outstanding, it is Jude Law's Oscar-nominated turn and Hoffman's brilliantly obnoxious performance as an ugly-rich American that come close to stealing the movie.

There are many unforgettable moments, in this beautifully crafted movie that Hitchcock would be proud of, as Tom struggles to maintain his dual identity. More dramatically satisfying than The English Patient, The Talented Mr Ripley is an intelligent film, carefully cast and immaculately performed. Highly recommended this for people who love suspense and prefer to watch movies that come with an IQ!!!

Horrible
I must say that this is one of the worst films that I've ever watched. It was very long, and very boring. I didn't care about what happened to any of the characters, as a matter of fact I didn't like any of the them. The story didn't unfold effortlessly but instead seemed to move slowly and with difficulty.

Beautiful Film With Dark Anti-Hero
"The Talented Mr. Ripley" is one of the most unsettling, vivid thrillers made since Hitchcock. Matt Damon leads an All-Hollywood Under-40 cast, including Jude Law, Ms. Paltrow, Cate Blanchett, and Phillip Seymore Hoffman (reprising his obnoxious spoiled brat from "Scent of a Woman," with his arrogance on steroids) in one of his most convincing performances to date.

Set in the 1950's, "Ripley" perfectly captures the look and feel of the period through rich costumes and fabulous sets -- director Anthony Minghella uses the same voluptuous direction that he used to such great effect in "The English Patient." But there are elements of subversion in the movie that match Ripley's subversive, evil soul -- the rise of jazz ("noise," as one character derisively calls it), characters who do nothing but spend their parents' fortunes, and homosexuality and adultery tearing at the rigid social fabric of the times all mirror Thomas Ripley's unnerving ability to manipulate the truth to his own ends.

Ripley is not content to be the best person he can be -- Ripley wants to be the best person that someone else could be. In this case, it's Dickie Greenleaf (Law -- fiendishly handsome), heir to a shipping fortune and ladies' man extraordinaire. Ripley is sent to Italy by the elder Greenleaf to retrieve his son, idling away on the beach with his girlfriend Marge (Paltrow). Teaching himself jazz and inventing stories of schooldays at Princeton, Ripley soon charms his way into Dickie's house.

Ripley knows that the key to being a great liar is to tell the truth as much as possible and allow others to draw their own conclusions. This takes great wit and timing, and Ripley pulls it off fabulously. For a while, things could not be better, but soon the impulsive Dickie tires of the ever-present Ripley, whose attachment to Dickie goes beyond mere friendship into unsettling territories. This leads to a horrifying boat trip where the two Ripley-proclaimed "brothers" speak truths that probably should have gone unsaid.

Ripley finds himself caught up in the world of his own making, and the lies he has spun threaten to ensnare him even as he uses them to break free from his former anonymous life. Delicately balancing new lies and capitalizing on what is, to our modern eyes, a quaintly obsolete communications system (my God, they actually write letters!), Ripley eventually finds himself living the good life in a wonderfully decorated Roman penthouse.

As good a liar as Ripley is, he can't prevent some from figuring out his various lies and secrets. And this is where the movie really gets dark -- Ripley is a man filled with rage, and that rage can lead to gruesome results.

Ripley is a man of considerable talents and appetites. His hunger for acceptance and for love -- there is virtually nobody in the film whom Ripley does not seduce -- is exceeded only by his instinct for self-preservation. Even Ripley is horrified by what he is capable of, and the climactic scene leaves no doubt that for all his talents, Ripley is not someone you ever want to meet.

"Ripley" achieves a lot of its effect through implication, and the films most charged scenes, whether violent or sexual, are actually quite restrained in what is actually shown on-screen. But like "Pulp Fiction," the scenes are perhaps even more powerful for not showing exactly what happens, but by their implications. In that sense, the entire movie is an implication, a set-up for future stories (there are other "Ripley" stories) involving our favorite murderous impersonator. I hope that Hollywood can pull it together to make another installment with Damon as the lead -- he nails it.

VERY GOOD STUFF
The Ripley charector is great to watch he is like a child trying to fit in, he knows something about himself is diffrent but he cannot describe it. Because you have to have a conscience to know the answer. I remember seeing the talented mr. ripley in the theatre and how pleased I was with the ripley charector. His charector was created some time ago and most people do not know it but he inspired most of hollywood's classic villians particuarly the hitchcock ones. Also see RIPLEY'S GAME. I think John Malkovich is even better in the sequel. ... Read more

Amazon.com

Before hitting the big time with his second film Boogie Nights, young filmmaker Paul Thomas Anderson impressed critics with this deftly conceived, low-budget film noir chamber piece. With its minimalist plot, deliberate pacing, and brief, but shocking bursts of violence, Hard Eight won't please everyone, but Anderson and his first-rate cast were clearly working on the same authentic wavelength. It's a mystery at first why a solemn professional gambler (Philip Baker Hall in a captivating performance) cares for a down-and-out loser (John C. Reilly) and a dimwit, Reno cocktail waitress (Gwyneth Paltrow). But his motivations become clear--and the movie packs a quietly effective punch--when the gambler faces blackmail by a small-time crook (Samuel L. Jackson). This unheralded film seemed like a closely kept secret itself, until it showed up on the 1997 top-10 lists of several prominent critics. In tandem with Boogie Nights, it marked the arrival of a new filmmaker whose talent is as impressive as that of that other '90s hotshot, Quentin Tarantino. --Jeff Shannon ... Read more

Reviews (51)

A nice Find
Hard Eight is one of those sharp character driven dramas that film fans will appreciate if they Like Paul Thomas Anderson in general. Anderson is the kind of writer that brings new things to life each time out. This time he finds a lonely gambler in his later days who befriends misfits. A great cast led my Phillip Baker Hall and John C. Reilly make the movie a treat and Sam Jackson and Gweneth Paltrow also show up for supporting roles.

The Special Features offer three scenes from the movie shot on video as part of a Sundance workshop. It also has two commentary tracks. The first one with Anderson and Hall is interesting, because Anderson is really funny and well spoken and has a lot of interesting things to say. Hall, on the other hand, drones on and on about character motivation and dynamics and sounds like a junior level college course on acting. Not to take away from Hall's performance which is top notch, but listening to actors talk about what goes on in an actor's mind is numbing.

Hard Eight is as interesting if not as ambitious as Anderson's later projects. If you like his other films, you'll do yourself a favor seeing this one.

compelling and heartfelt
My personal favorite of Paul Thomas Anderson's films, Hard Eight quenches my thirst with a good twist and ending. Boogie Nights and Magnolia seemed to me to be primarily centered around the characters (which is great in it's own respect), but both movies left me wanting a bit more. Philip Baker Hall stars this time as elderly lonesome gambler Sydney, who, for reasons unknown, helps two young confused kids find love and peace in the world.
This film deals with issues of regret, guilt and self-redemption as Sydney's generosity and charity is not as selfless as it may seem. And so we follow the daily lives of Sydney and these young adults, as their neuroses guide them into very unique situations which brilliantly outline the chaos they feel in their lives. The characters are sad, realistic, and evoke empathy from the viewer simply on maintaining their everyday lives.
The question that is raised is whether or not personal guilt of the past can ever be abolished by performing acts of kindness in the present. Can a man redeem his character even when he is in his 70's, or have his bad choices set the tone for his existence? Is covering up the past while refusing to deal with it head-on a detrimental decision? These questions are left unanswered in this compelling story of a lonely old man's attempt to clear his conscience.

SLICK
Move over Tarantino and Mamet we got a new writer director in town.Paul Thomas Anderson.Boogie Nights and this one Hard Eight
make him an easy competitor in the world of indie film-making
this movie is great.Philip Baker Hall finally scores a lead role
and does an outstanding job as Sydney,the kind,nice,and all to
calm and slick pro gambler who helps John(John C. Reilly)a down
on his luck chum.Then they become good freinds and we skip a head
2 years and we meet Clementine Johns new love played good as usual by Gweneth Paltrow and slick casino pro Jimmy played by
Samuel L.Jackson who is the standout.This movie crackles with
dialogue and your never bored because you never know whats gonna
happen next and we find out secrets about our nice freind Sydney
and from their it gets interesting.SEE IT NOWWWW

Too ambiguous and understated
Maybe I was born into a generation of short attention spans, but I just felt this movie moved too slowly. I understand that it's a character-driven drama and not an action flick, but I do now believe there's such a thing as too much subtlety. Ninety percent of the film consists of extremely drawn-out, quiet conversations between two characters, with lines no more than a couple of words long: "Cigarette?" "No thanks," etc. It seems too artsy and contrived. A lot of filmakers - I can't help but mention Tarantino here - use mundane, understated dialogue to act as comic bathos, or to develop character, but it doesn't work so well in Hard Eight.

That said, it still deserves at least 3.5 stars (rounded to four). Hall's unrelentingly phlegmatic Sydney plays so well off of Jackson's 'enobled thug' Jimmy; the scenes where they confront each other, Sydney doggedly trying to assert his principles, Jimmy exposing Sydney's hypocrisy and condescension, are well played-out. You have trouble deciding where your sympathies lie, which always good, and I was strangely satisfied with the ending as well. Also, it's such a short, simple and (in some ways) unpretentious movie that it's hard to judge it very harshly; it would be like condemning a nice little schoolhouse in relation to the Taj Mahal.

Hard To Stay Awake...
Don't get me wrong here. I am a fan of Anderson's work in general, especially Boogie Nights and Punch-Drunk Love. But I just could handle Hard Eight. Usually Anderson's slower pace is a welcome change for me as I really enjoy character driven dramas. The acting was pretty good, but I just thought the script lacked anything of interest. Maybe next time, but I can't recommend actually buying this one unless you want a complete Anderson collection. ... Read more

Reviews (81)

Best movie you didn't see this year
This was the best movie of 2002 that absolutely nobody saw. (There were better movies, but they all found their audiences.) The movie follows two stories -- the 19th-century romance between writers Randolph Henry Ashe (Jeremy Northam, "Gosford Park") and Christabel LaMotte (Jennifer Ehle, "Wilde") and the modern-day story of two researchers (Aaron Eckhart, "Erin Brockovich," and Gwynneth Paltrow, "Shakespeare in Love") who are trying to find the truth about them.

The two love stories are both really strong and have strange parallels, but are never presented in a confusing or inaccessible manner. Director Neil LaBute (Nurse Betty) told a very hard story in a very powerful way. Eckhart redeems his turn in the pathetically overrated "Erin Brockovich" and Paltrow yet again plays a Brit so convincingly you figure she's never coming back to America. Oh well -- at least she's good at it.

Passion inspires passion!
The film has