Reviews (6)

I love john sayles
There I said it I love John Sayles...of course plutonically lol

This is a great lesbian film that understands emotions, though older and low budget the theme is timeless and so are the emotions...see this film it is a turning point in films about lesbians yes it is made by a guy but someone should make him an honorary lesbian...he "sees" us.

A classic treat
John Sayles understands women more than some women understand themselves...I do not know what it is..but he gets us...

This is an older movie dated but the emotions are fresh....see where lesbian themed films began ...Lianna is a treat...ranks up there with older classics like Killing of Sister George, Theresa and Isabelle...through Desert Hearts to modern classics like A Family Affair, Aimee and Jaguar and now The L Word

Top Notch Sayles Flick
Sayles understands women better than many women understand themselves. This is a classic lesbian flick at a time when lesbian films were rare or non- existent...sure it is dated a bit, but it is well worth the watching. This is a great film capturing emotions and a womens journey into her own sexuality. A Classic film, see it!

Putting in my 2 cents
I recently began to collect lesbian films and the truth is that it's not easy to find good ones. I ordered this film because the reviews that I read on it seemed very good, but honestly I was a little dissapointed (again). I felt that the characters in this film had very little chemistry between them. The kissing was terrible, and the sex scene was definately not very hot...a little believable chemistry would have been good. The films was made in the 80's which is another negative. The bar scene was terrible, I thought it would never end. Any way I'm no expert on films put I do know when a film moves me and this one certainly did not. Please be your own judge.

My favorite John Sayles film
This is my favorite John Sayles film (which, considering how i feel about Lone Star, says a lot). This has much to do with Linda Griffith's wonderful performance as the title character. Sayles says his intention was to explore a situation where husband and wife divorce and the husband gets custody of the kids. This, of course, means something has to be "wrong" with the wife. At the same time, he didn't want her problem to be too impairing. Alcoholism and heroin addiction were out, so he made her a lesbian. When you consider the 1983 this is way ahead of its time and holds up well, especially against current films like But I'm a cheerleader. Good stuff. ... Read more

Reviews (39)

Wonderfully flavored baseball movie
What a fun movie! This film is a depiction of the 1919 Chicago WhiteSox who are alleged to have "fixed" the World Series that year against the Reds.

Here's what I loved about the film. The portrayal of Charlie Comisky, the White Sox owner is outstanding. I found myself quickly siding with the players from the outset and bristling at his obviously unethical and cheap approach. The time period depicted has a great "feel" to it. The baseball scenes are excellent and have a realistic feel as well. John Cusak and DB Sweeney are excellent as Buck Weaver and "Shoeless" Joe Jackson.

The portrayal of the newly appointed commisioner Kennisaw Mountain Landis is also excellent. After watching this film you will better understand the current situation with Pete Rose, and where his expulsion from baseball originates. If you are at all a baseball fan you will enjoy the film.

My only criticism is that too much film time is spent of the gangsters and the announcers. That was a little tedious, and limited the further character development of the players, the depiction of the game, the owners, and the era.

I recommend this film though easily to any baseball fan.

Great look into the White Sox world series of 1919
This movie examines the role of the Chicago White Sox in the famous White Sox world series scandal of 1919. I thought it was one of the most appreiciated baseball movies of all time. It deals with the corruption of gambling in sports and the temptations that this particular group of athletes had in throwing the world series. Watching this movie helped me understand why sports betting, for the most part, is the major corporation it is today.

John Cusak is wonderful as Shoeless Joe, one of the White Sox who does not want to go along with the scheme. This movie is very detailed: we get an inside point-of-view from the audience, mob, player and player's wife's perspective. It is a look at the conscience of the White Sox players who must either "sell out" and throw the World Series to make the extra buck and keep the sports sharks off their backs, or keep the integrity of the game intact by giving their all on the field and denying the prospects of more money.

I recommend this movie not only for baseball fans, but all movie junkies. It examines many of the sports issues that we deal with today, such as corruption, integrity of the sport, and gambling.

Sayles' masterpiece
It's difficult not to get your personal feelings called into play when watching an obviously slanted film like EIGHT MEN OUT. John Sayles, like Oliver Stone, is an obvious agit-prop master for the left or at least for labor in its battle against owners. But so are several others movie-makers. However, those others do not get the responses that Sayles has evoked because they don't have half the talent that Sayles possesses. There is no fence-sitting when watching his films, and that's because his visions and messages are clear, uncompromising and passionate. EIGHT MEN OUT is one of his highest achievements in those regards.

In his analysis of the rigging of the World Series of 1919, Sayles targets White Sox owner Comiskey as the true villain. And I believe this is accurate, if not justifiable, at the very least. The Black Sox scandal, as it came to be known, was undoubtedly the lowest point in baseball history, but it could have been avoided. Had Comiskey treated his players as they merited, it is doubtful any of it would have come about. This is not to say that these athletes were angelic: Sayles goes to great lengths to show that several of them would be easily corruptible, such as Chick Gandil (played by the underrated Michael Rooker). Other players seem to want to do the right thing, but are pushed too far by Comiskey--specifically, Eddie Cicotte, as portrayed by Sayles' favorite, David Strathairn. The enigmatic Shoeless Joe Jackson (subtly played by D.B. Sweeney) is just plain too dumb to understand the implications of his involvement. As others have noted, Jackson wound up the series' batting leader.

The real moral compass of EIGHT MEN OUT is Buck Weaver, played by John Cusack in what may have been the performance of his career. Sayles' Weaver is portrayed as the victim of the ultimate betrayal for not participating in the scheme. His teammates don't back him up. The courts do not defend him. The press lumps him together with the guilty. His only crime was not being a snitch. And for that, Weaver has basically been relegated to baseball history's limbo, in spite of an above-par career. Sayles does an admirable job in evoking a justified sympathy for Buck Weaver, and Cusack captures it beautifully.

EIGHT MEN OUT is not a mere baseball movie. Like much of Sayles' work, it's a film about greed, and the desire of American owners to extract as much from labor as possible, without giving anything in return.

P.S. -- Sayles does a great job of portraying writer Ring Lardner. I just wish he didn't sing!

How about a movie called...
How about if the film industry makes a movie called 'The Hammer'? Gee, they made 'Cobb, 'The Babe', 'Eight Men Out', 'Field of Dreams', 'The Pride of the Yankees', 'The Natural', and '61*'. Well, how about making a movie about Henry Aaron, Josh Gibson, Roberto Clemente, Willie Mays, or even Jackie Robinson? Oh, I forgot, baseball will never allow it...

I WANTED to love it!
I love baseball and I love baseball movies. So I was ready to love this movie, yet it somehow failed to please. Great actors, great period setting, yet we are not let inside the minds of the characters. Aside from John Cusak's Buck Weaver, none of the characters are even that appealing, so we don't really care what happens to them. We know nothing about their background, why they play baseball, or what drives them. In summary, the movie just wasn't that engaging. Since most of us know the rough outline of the story already, there are no surprises. The characters were so 2-dimensional, that I almost expected them to disappear when they turned sideways! Also, the DVD has no special features at all except for a movie trailer which is just a summary of the movie.

If you want a baseball movie with heart, get Field of Dreams. ... Read more

Reviews (70)

Magical Irish Tale
The Secret of Roan Innish is a movie unlike any other I have seen. Truly enchanting, haunting, moving, and inspiring, I recommend this movie to anyone who has not lost their sense of childlike wonder, and who remembers fairy tales read on a rainy day.

Roan Innish means Seal Island in Celtic. The story is of a young, orphaned Irish girl determined to uncover her family's secret. Her brother has been missing, and is never mentioned by her traditional and loving grandparents, who are raising her. The intrepid girl uses her detective skills, perseverance, hard work, and all the resources at hand to uncover a mystery greater than she or her grandparents ever imagined.

This is a movie for adults more than children, as the heavy Irish brouge is a bit difficult to translate at first, and the beautiful filmography may seem slow-moving to children. Amazing acting will transport you to a place you have never been and will never forget.

Fiona solves the mystery of the island of Roan Inish
The family of young Fiona (Jeni Courtney) has been touched by tragedy. Her mother has died and no one wants to talk about when her baby brother Jimmy drifted off to sea in his cradle. Fiona is sent to live with her grandfather (Mick Lally) and grandmother (Eileen Colgan) on the coast across from the family's former home on the island of Roan Inish. Everyone from her grandfather to the people she meets in towns have stories to tell young Fiona, about Roan Inish and the selkies, "ceils" who assume human form and can be captured if you but get their skins away from them. Bit by bit Fiona puts the stories of her family and the local legends together until she and her cousin Eamon (Richard Sheridan) finally learn the secret of Roan Inish.

Director John Sayles and cinematographer Haskell Wexler have crafted a simple story, told in leisure about a young girl who believes in her heart long before she has evidence for her eyes. Besides any film that involves a young man having to be tied between two cows for warmth after the sea refuses to drown him is obviously a film worth seeing. Then there all those lilting Irish accents and their wonderful way of coming up with a phrase to describe each situation. Add to this the wonderful soundtrack of Irish music and the captivating mystery and I do not think you will have to worry that the relatively slow pace of the film will lose the interest of your children. They too will want to learn if their suspicions about the island's secret are correct. "The Secret of Roan Inish" is a delightful family film, of the sort we will all agree they simply do not make enough of any more.

Magic!
An absolutely beautiful story building on legends from the west coast and the islands. Captures the magic of the legends better than anything has since my storytimes with an old West Kerry grand uncle.
Beautifully acted by an excellent cast despite the distraction of Judi Courtney's northern accent when the rest of the family have southern accents.
The Selkie is well played by Susan Lynch who has been in many other films including Ned Devine

What a beautiful film
This film was so gorgeous...the scenery was breathtaking. Though I was a bit confused at times about the plot (now I understand it more), overall it was a spectacular piece of cinema. Lovely.

The Secret of Roan Inish
The movie made me want to GO to Ireland - to go to Inishmore (the island off the west coast).
It's a good movie - if someone is interested in Irish folklore, by all means get it!
Oh, I FINALLY did go to Ireland, and Inishmore a few weeks ago, and saw the seals playing on the beach! It's just as beautiful (and mysterious) as the movie! ... Read more

Reviews (52)

Lone Star - conviction, love, unpretentious insight
First I would like to thank John Sayles for his unique style.

A somewhat sleepy Southwest Texas border town provides the backdrop for this most unusual film. There is nothing uncommon about the demographic mix here: Anglo, Hispanic, Mexican, Black, yet Sayles hand creates an unforgettable experience through the use of warts-and-all character development and beautiful insight.

I realize some may have issues with the regional nature of this film but make no mistake, having lived most of my life in the Southwest, I can name actual persons that closely match each character in this film.

Chris Cooper plays the part of Sam Deeds to perfection. Recently divorced, Chris returns to Rio County as its new Sheriff, following in his legendary fathers' footsteps. As Chris states in the film, 'I spent the first 15 years of my life trying to be just like my old man, and the next 15 trying to kill him'. For those who do not have larger-than-life fathers, Cooper's portrail is a direct hit. For those who do, I need not say anything.

Although the plot revolves around the discovery of the remains of long-dead Sheriff Charlie Wade, this film is about conviction and human frailty, not solving a murder. An example of the wisdom of Sayles is when Otis Payne, bar owner, explains to his black-and-white thinking Colonel son Chet Payne, poignantly played by Eddie Robinson that most blacks in Rio County patronize both his bar and the church. And Sayles holds true to these words. With the exception of Charlie Wade's character, each shares strengths and weaknesses, frailty and prejudice, practicality and remorse.

Sam Deeds and Elizabeth Pena as Pilar Cruz fit together wonderfully as high-school sweethearts who are reunited after Sam's divorce. Convictions play heavily into both characters: Sam's ambivalent feelings toward his fathers' graft and political gain, Pilar's fight against a canned school curriculum. Sayles wisely points out that people of conviction are not perfect but are special. And when two special meet and fall in love, it is for a lifetime. Circumstances are not on their side, which makes their love affair that much more poignant. The few moments they are able to share are full of deep emotion and affection, just as they should be.

To be honest, my life has so closely paralleled Chris Cooper that this film is extremely difficult for me to watch. But that does not diminish its beauty and insight. For those not from the Southwest, I'd recommend watching at least twice to become familiarized with the cultures. And for those preoccupied with happy endings, you may wish to skip this film entirely.

Simply the best indie film in years...
I saw this movie when it was first released, and then again this week-end on TNT. It's one of the best films I've seen and I plan to purchase it for my library.

It doesn't have a lot of action and the plots develop slowly, but, like In the Heat of the Night, there is not one throw-away scene.

I've never seen Kristofferson so evil...his work was real enough to be very, very scary. I liked Chris Cooper and Frances McDormand is a riot in her all-too-brief scene as Cooper's strung-out ex-wife.

I live in a small town in east Texas and I know people like the Sheriff, Big O, Buddy and the others.

The plot twist at the end might be a bit off-putting for some, but, to me, it just added to the quality of the writing, directing, acting and drama.

This is a movie to be savored. Do not expect action, car crashes or surrealistice special effects. It's a film about real people facing real issues and doing their best to right some very bad wrongs.

Enjoy!

Stereotypes
There's something so "Plastic, Benjamin" about a scripted debate on race relations. Somebody tell John Sayles that drama comes first. His political inclinations are so important they blot out the sun. Remember, "To Tell a Mockingbird?" It never felt preachy. Why? Because Greg Peck had a meaty role and his position was clear. "This will not stand," a Lincolnesque moment. Chris Cooper is one sad sheriff trying to live up to his legendary dad. The town is a boiling pot of Anglo, Mexican and Afro-American potations. They shout at each other, they cuss, sort-of, but then they all sit around and express their feelings. Subtle, this ain't. That's why the movie feels like it's taking three hours to tell a ten-minute story. Who killed the bad sheriff? Kris Kristofoson is one of those redneck bad guy-racists that come out of Hollywood without motivation. This script won an academy award back in 96. There are incestuous stories, stereotypes, town histories intertwined, but I still can't figure if the sheriff and the schoolteacher can overcome that last revelation.

A Quiet Masterpiece...
...and one of my favorite films because of it's intermeshings of mood, plot and character. I have always considered that the American 'norm' is one frought with brutal people made into heroes because the history books tell us that they were heroes; also, that maybe's man truest nature is of brutality and cruelity...and history, again, washes things as clean as laundry done for Sunday morning. Anyhoo, that's what this movie speaks to, how brutality affects the Rio County area so much that many secrets have somehow bonded the folks living in this ant farm of a community. Note how there's a sub-theme of competition and struggle, man versus whatever (rattle snake skins, longhorn skulls, soldiers preparing for battle, the after hours gambling) where a 'winner' must be declared.' You will dig this one because it will have you thinking about it for a long time aferwards..

An Examination of History
Lone Star is about history and how history can either be a prison or how it can set us free. The characters in the movie start out bound by their history. Their histories, familial and cultural, determine a course of action for the characters living in present day Rio County. By the end of the movie, these characters have come to grips with their own personal history. Their personal history no longer dictates their actions.
Sam Deeds is the current sheriff of Rio County and is plagued by his legendary father, who also was a sheriff. Sam is a reluctant sheriff and was elected by the townspeople who hoped he would be like his father. Sam's investigation into the murder of Charley Wade is driven by his history with Buddy: he's not interested in learning the "truth" but instead to shatter the legendary status of his father. The revelations through his investigation help to form a more complete history of Buddy Deeds for Sam; he no longer has the skewed and inaccurate picture formed from his own personal experiences with Buddy Deeds.
Col. Delmore Payne works his way up through the structured institution of the U.S. Army as a way to forget his estrangement with his father. He tries to instill this discipline in Chet's (his son) life. Col. Payne wants to be a strong influencing force in his son's life to compensate for his father's lack of involvement in his own life. Chet develops his own relationship with Col. Payne's father, Otis, and thus brings Otis back into his father's life. By the end of the movie Col. Payne is beginning to form a relationship. Once he lets go of the history between him and his father, he becomes a more of a father and less of a disciplinarian to Chet.
Mercedes Cruz, mother of Pilar, is an immigrant from Mexico trying to free herself of her dirty Mexican past and assimilate into American culture. She has become the most successful Mexican-American businesswoman in the town. She owns a Mexican restaurant and always scolds her workers when they speak Spanish instead of English. She lives near the Mexican border and has a good view of Mexicans trying to cross the border illegally. Anytime she sees this, she calls the Border Patrol to report them. This is in direct contrast to her own past, where she crossed into the U.S. as an illegal immigrant. Her moment of "freedom" comes when she helps the fiancée of an employee. She breaks her leg trying to cross the river into the U.S. and Mrs. Cruz calls in a favor to a local doctor.
The romance between Sam and Pilar is the most controversial example of history colliding with present. Sam and Pilar were high school sweethearts and were reunited after Sam came back to Rio County. Through the course of his investigation into the murder of Charley Wade, Sam stumbles across some explosive history that could change their relationship permanently. This is controversial and sure to spark extreme opinions, but I think their final decision follows in the theme of the movie. They break free of the chains of history to try and forge ahead in the present. ... Read more

Amazon.com

Call it Boss in a Box. This two-disc set of music videos and concertperformances is a must for any Springsteen fan. While the 1989 VHS version contained just 18 songs, the expanded DVD set has 33 performances dating through2000, including "The Ghost of Tom Joad," performed in 1995 on The TonightShow, and an acoustic "Born in the U.S.A." from a 1998 appearance on TheCharlie Rose Show. Most of the highlights are, not surprisingly, fromSpringsteen's electrifying concerts, including raw versions of "Rosalita" and"Thunder Road" from early in his career with the E Street Band. Also not to bemissed: the 1987 performance of the harrowing "Tougher Than the Rest," shot withpoignant close-ups of wife Patti Scialfa singing backup; the raspy, gospel- tinged "Leap of Faith"; and the barely contained smolder of "Fire." Most fanswill find themselves wishing that this was strictly a concert DVD; the MTVvideos from the Born in theU.S.A. years (the John Sayles-directed trilogy "Born in the U.S.A.,""I'm on Fire," and "Glory Days") seem too canned and glossy sandwiched in withthe rougher, more exhilarating live performances. And Springsteen's tendency toget preachy in the late '90s ("Murder Incorporated," "Dead Man Walkin'") cangrate as well. But until there's a full-length performance DVD, the VideoAnthology will keep fans on their feet. --Anne Hurley ... Read more

Reviews (39)

Like having 57 Channels with somethin' on.1978-2000-2 DVDs!
Track rundown-Disc 1:Rosalita, The River, Thunder Road, Atlantic City, Dancing In The Dark, Born In The USA, I'm On Fire, Glory Days, My Hometown, War, Fire, Born To Run, Brilliant Disguise, Tunnel Of Love, One Step Up, Tougher Than the Rest, Spare Parts, Born To Run(acoustic) Disc 2:Human Touch, Better Days, 57 Channels (and Nothin' On), Leap Of Faith, Streets Of Philadelphia, Murder Incorporated, Secret Garden, Hungry Heart, Dead Man Walkin, The Ghost Of Tom Joad (video and from The Tonight Show), Highway Patrolman, If I Should Fall Behind, Born In The USA (from Charlie Rose Show), Secret Garden (Alternate version with strings). I love the music of THE BOSS and this should be a welcome addition to any collection. I've watched the original video 1978-1988 until it broke, so I was so happy to get this awesome DVD set!

Sringsteen's video are cinematic
Springsteen's songs are so cinematic in nature, that on some levels, videos seem a good match. Sure enough, that is reflected in the titles here. We have no less than 3 videos here with film clips, all stellar films. We have John Sales directing a short story version of I'm on Fire. Brian DePalma, Jonathan Demme, Tim Robbins, & Sean Penn also make appearences in the credits.

This is a fine collection of videos, like the music, that is basic, non-flashy, and direct. It also contains many live concert videos, which, of course, are wonderfull glimpes into the magic that Springsteen brings to the stage.

The Atlantic City, I'm on Fire, Brilliant Disguise, Human Touch, Secret Garden, Ghost of Tom Joad, Streets of Philidelphia, and Highway Patrolman videos are the highlights of the non-performance selections. Of the live footage, an extremely energetic 'Rosalita' from '78, a hilarious 'Fire,' a totally reworked and beautiful 'Born to Run,' an angry 'Spare Parts,' a spectacular 'Leap of Faith,' and a moving If I Should Fall Behind are the best.

Best of all is the closing clip of Bruce reworking Born in the USA solo on guitar for the Charlie Rose show. This ledgendary athem of rage is transformed into a dying horse whisper.

This is video collection with very few misses, and a rich collection of Springsteen's quiet but successfull stroll into the world of videos.

Near Perfect!
A nice summary of Bruce's early video work. However, why the edit on "Rosalita" - the band introductions (which were originally included when the video came out in the 80's) were a lot of fun. I'd love to find a copy of them.

Otherwise, a great presentation

Good live performances on disk 1
Disk 1 is very good with live performances. Disk 2 was not that great and is videos. I wanted the song Rosalita as that is the best song and is missing from latest DVD's.

Ecompasses the Best of Springsteen
This chonological colection of Springsteen's work is great for any Springsteen fan. The 2 DVD set is essentially his greatest hits in video form. A lot of these videos are live performances and show how great Bruce Springsteen is as a live performer. Bruce Springsteen truly is The Boss, and this video collection adds to the legacy. Highlights of the DVD include a rivoting live performance of War, found on the bos set, and a rare version of Fire, a song he wrote for the Pointer Sisters. This also shows some of the later work, including Secret Garden from Jerry Maguire, and Murder Incorporated from his greatest hits album. 4 out of 5 because of Weak representation form the pre-BITUSA era. ... Read more

Amazon.com

John Sayles tackles one of his most provocative projects in Silver City, a broadside on politics and campaigning. It's one of Sayles's multi-character tapestries, set during a tarnished governor's race in Colorado. Chris Cooper has kicky fun as a feather-brained candidate, whose nonsensical speeches deliberately evoke the 43rd U.S. president. He doesn't get nearly enough screen time, because the film follows a burned-out private detective (the awkward Danny Huston) as he tugs at conspiracies. Sayles's understanding of the connected relationships in the political world is keen, and his malignant ending scores points--though the issues are more convincing than the characters. A subplot romance between Huston and journalist Maria Bello is tired, and there's a rushed quality that undercuts the political barbs. The crowded cast helps it perk along. This is a companion piece to Sayles's City of Hope and Sunshine State, and proves his teeth are only getting sharper. --Robert Horton ... Read more

Amazon.com

There are three unforgettable characters in John Sayles's contemporary adventure-drama set in Alaska. They are never seen but live only in a frontier diary found by teenager Noelle De Angelo (Vanessa Martinez). The life of the diary's narrator is much like everything in this movie: hanging in limbo. The first half of the film focuses on why men and woman turn to Alaska, a land still ripe with opportunity. A small town is at a crossroads, with its pulp mill and canning factory closed and new investors seeing different directions in which to take the area (one even boasts the state is the ultimate theme park). A local (Sayles regular David Strathairn) is just escaping his past, taking up commercial fishing again. He attracts a traveling nightclub singer (Mary Elizabeth Mastrantonio in her best role in years) who struggles daily with her daughter Noelle. Like any good theme park, Limbo presents the threesome with an unexpected adventure. In the wilderness, the three relative strangers learn more about themselves than was ever possible in town. Sayles's usual craftsmanship creates a singular blend of drama and suspense with an ending designed to ruffle feathers. Not as accessible as his breakthrough hit Lone Star, Limbo is nevertheless a hearty film from one of America's best storytellers. --Doug Thomas ... Read more

Reviews (78)

Wow. Amazing in every possible way.
I simply must take issue with the previous reviews. "Limbo" is a fantastic film. It is truly absorbing for the very reason that other people who are more used to, or hoping for, some kind of action-filled cliche movie would have preferred. You can't go into this movie wanting another typical lame Hollywood ending movie. Sayles' movies aren't that way. Yet neither are they boring--far from it! "Limbo" is about the lives of the characters. The key is to realize that by watching this particular film you are specifically watching a series of events in their lives go into inexorable motion, and then watching the consequences. The events themselves are quite simple on the surface...hence again, why some may call this boring as there are no cartoon characters, jet fighters, aliens, robots, explosions and the like to segue into the next scene. The scenes of the marooned group reading the diary they found in the ruins of their shelter are stunning. And as for the ending, well, (don't worry, no giveaways here! ) how else could it have ended? Anything else would have been another stupid Hollywood ending that leaves nothing to the imagination. And also, ponder the title itself. You think about this movie after you leave the theater, after you turn off the TV, you discuss it with friends. That's what good movies do...make you keep talking about them after the credits roll. If you want to see a truly original movie that will stay with you for a long time, get "Limbo." Whew. Thanks!

Vintage Sayles -- a Haunting Story that Stays with You
This a pretty incredible film, so take my advice and don't let anyone else spoil its surprises if you haven't seen it. It's a quiet and strange film filled nevertheless with a lot of complexity, chills and heart. But part of its magic does lie in the suspense of simply wondering what will happen next, so keep yourself in the dark if you can before viewing.

That said, this is vintage John Sayles that at the same time explores new territory. Like most of his films, it seems at first to be more about character than plot -- but the plot rears its head, and as with "Lone Star," the story is unexpected and flawless. "Limbo" offers wonderful performances (especially those of the three leads), but it also boasts a knockout soundtrack (who knew Mary Elizabeth Mastrantonio could sing?) and moments of quiet and eerie poignance. The ending will leave you thinking (and talking) for some time to come.

This DVD is one of the good ones, by the way -- no paltry "extras" of just a trailer or "more movies to buy!" And what a treat to actually get a chance to listen to Sayles on the commentary track -- unlike many commentaries, this one adds layers instead of stripping them. It's a hard film to forget.

SOMETHING ELSE
Limbo is a fascinating movie - no Hollywood stuff, but independent film-making of very high quality. Most of all I like the two main characters played be David Strathairn and Mary Elizabeth Mastrantonio. The way they get to know each other is very tender, very convincing, and also funny at times. I particularly like the scene in the bar when she comes to his table after singing a song, and they start revealing little bits about themselves to each other - that's fascinating acting, and fascinating dialogue too.
As for the much-disputed ending - oh well, I don't want to give away too much, but director/writer/editor John Sayles says in his DVD commentary (highly recommended) that it was the only ending that seemed appropriate to him, and maybe he's right...

Awful Move; Cheaply Shot; Lacking A Story Line
This is an awful movie. It is so cheaply shot it's a distraction. Whoever produced this move needs to go into another career. Awful story line, what little there is. Stay far away from this movie, it's 2 hours of your life you'll never get back but wish you could.

Well, That Was ALMOST An Excellent Film!
I can't believe I just read through 75 reviews! Just goes to show, when you watch this film, you don't simply say "oh well" and flip the channel. That said, it seems to me that at least 90% of those reviews are off-target.

On the one hand, the half that are one-star can mostly be ignored. As with all John Sayles' movies, this is a slow-paced but involving story that anchors you into a "place-and-time crossroads": Alaska, as traditional industry jobs are vanishing and being replaced by tourism's less-satisfying service jobs. As always, Sayles weaves a community before your eyes, in this case, a community of people struggling to redefine themselves. Three characters rise to be the leads: they are fascinatingly and heartbreakingly human. Assuming that you like thoughtful movies, you will find yourself immersed, and then, as the title implies, suspended, exactly as the director intends. With all of that, this movie is definitely an involving experience.

Now, if that sounds interesting to you, fine, give it a spin. You'll be intrigued, and will understand why there are 75 screamingly polarized reviews here for such a small film. If it sounds dull, or depressing, it probably will be: skip it. And if you've never seen a John Sayles movie before, this isn't the one to start with: go rent "Lone Star", which satisfies on as many levels as Sayles ever chooses to go. (BTW, you will never find an upbeat, fast-paced, movie-movie Sayles film. He just doesn't do that.)

If you haven't seen the film, stop reading here.

OK, now for all those five-star reviews: nonsense. And as to the condescending POV that, if you don't like this you must have been looking for a Schwarzenegger ending: well, bite me.

This idea that, since "what would happen next" was either of two choices and both were trite, so just leave it to the viewer to choose between the two trite endings... what crap! YES, by stopping there, that is exactly what we're left with: romanticism or nihilism.

That's the point: THE MOVIE SHOULDN'T HAVE STOPPED THERE. They should have survived, obviously: otherwise, why bother filming the movie? Just stick a note in the DVD case saying, "Life sucks", and a handgun to end it all.

They should have returned to the town, plugged back into the story, begun their attempt to trust again together in Joe's house, and... then what? I don't know, cuz I'm not the writer. But surely there would have been a way to leave these characters with open, even ambiguous futures, while still not simply abandoning the story.

A lesser writer would never have gotten us to that beach. But a better writer (and Sayles at his best is one of our finest writers) would never have resorted to such a lazy tactic to leave us in "Limbo". Understand, it was HIS CHOICE to veer the plot midway (and btw, in retrospect? The introduction of the brother and drug dealers and all of that was really contrived). If he ran into this either/or boxed-in choice between two bad endings, he should have thrown the entire "strand them" twist into the garbage can, and rewrote.

IMO, Sayles will look back on this project and realize that he simply ran out of juice. A shame, since this is one of his finest setups for a film, and definitely, three of his finest and most sympathetic characters. ... Read more

Amazon.com

It is impossible to predict where John Sayles will travel at any given time in his film career, but Men with Guns is one of the director's most surprising journeys. Shot in Spanish, with a little-known cast, the film is a beguiling mix of the political and the mythical. A well-heeled doctor (Argentine actor Federico Luppi) in an unnamed Latin country leaves his comfortable home, in search of former medical students who may be caught in the political violence of the countryside. Although Sayles casts an unflinching eye on the issues of poverty and "willful ignorance" (embodied by the doctor, a well-meaning but complacent man), Men with Guns has a lush visual style and a great grab-bag of songs on the soundtrack. It's a slow and sometimes dreamlike movie, but by the time we reach the end it feels as though something special has transpired. --Robert Horton ... Read more

Amazon.com

John Sayles began his commendable directing career with this terrific portrait of 1960s counterculture survivors, now teetering on the brink of turning 30. A homegrown movie all the way, Return of the Secaucus Seven was made for around $60,000 of Sayles's own money (earned writing horror pictures such as Piranha). An effortlessly funny and thoughtful ensemble piece, Secaucus unmistakably provided the template for the bigger-budgeted The Big Chill:old friends reunite for a weekend to sort through fond memories, old resentments, and new problems. Sayles, longtime producing partner Maggi Renzi, and then-unknown David Strathairn are among the actors. The marvelous back-and-forth patter of the characters and the sprightly pacing show Sayles already had a sure sense of what he wanted on screen, and his mastery of the running gag is in place (the name Dwight won't ever sound quite the same again). This is the definition of "low-budget classic," from an indie pioneer. --Robert Horton ... Read more

Amazon.com essential video

An intelligent and potent drama about taking life's second chances when they come, Passion Fish finds director John Sayles (Matewan, Lone Star) once again providing a strong cast of actors with a smart, literate screenplay to produce an entertaining and thought-provoking film. Mary McDonnell (Dances with Wolves, Grand Canyon) plays a soap-opera actress paralyzed in a car accident, who returns to the small town on the Louisiana bayou where she grew up to hide. But the hiring of a physical therapist with a tortured past (Alfre Woodard), and the sometimes antagonistic bond formed between them, allows the woman to try and rehabilitate herself and seize the opportunities that life still has to offer. With some great tradi\ tional Cajun music and the picturesque bayou as a backdrop, Passion Fish is an engaging yarn not to be missed. --Robert Lane ... Read more

Reviews (19)

Beautiful Bayou.
In this current era of moviemaking, it's rare than an idea as soft, as pure as Passion Fish, will be given an opportunity to be made. Thankfully John Sayles has the ability to circumvent the 'by-committee' filmmaking which would have ultimately turned this wonderful little film into God know's what.

Mary McDonnell will never be better-she is brilliant, than in her portrayal of May-Alice Culhane (for which she was Oscar-nominated), the once-on-top Soap Opera star to whom tragedy has taken the use of her legs, and forced a re-evaluation of her life.

Alfre Woodard, as the hired home-care worker/nurse Chantelle provides the perfect complement as both these women find more of themselves through each other, then they might ever have found otherwise. Again, Ms. Woodard has rarely disappointed.

The early montage of health-care applicants is clever and funny. And John Sayles always is able to find brilliance in his supporting cast: notably Vondie Curtis-Hall, Leo Burmester, and David Strathairn, as well as a small role early in the career of Angela Bassett.

Sayles' script was also nominated for an Academy Award.

Modern Classic
Films like Passion Fish remind me that film can be art. With intelligent writing and direction by John Sayles, Passion Fish explores the friendship and bond between an unlikely and reluctant duo: a soap opera actress paralyzed in a car accident (brilliantly performed by Oscar nominated MARY McDONNELL) and her hired nurse with demons of her own (the wonderful, and shamlessly Oscar overlooked ALFRE WOODARD). This movie beautifully explores how two very independent women deal with their dependence on each other. With a strong supporting cast headed by DAVID STRAITHARN, Passion Fish is an absolute gem. The "anal probe" monologue is worth the price of admission alone!

a good movie
This is a well-acted movie with a good locale,a good script,and a good soundtrack.Recommended.

Great content, Superb acting - a true work of art
I love this film. The acting is as good as it can be. The simultaneous journeys of the characters blend and combust on each other and enrich each other. There are many delicious moments that themselves are worth re-watching. Completely delicious - all this despite the content itself being relatively challenging.

I'm just really going to have to check out all Sayles movies I guess - I keep finding out a favorite is by him. And Alfre Woodard of course never disappoints.

Completely worth it!

Sayles Greatest?
An almost perfect drama, by turns funny and heartbreaking. Sayles avoids his usual tendency to try and tell too many stories at once, instead keeping the action focused on the female leads (whose performances I cannot praise enough.) Sayles uses a technique of unfolding the narrative in a series of vignettes (most shorter than one minute) keeps the movie solidly on track, and maintains the interest of the viewer throughout. ... Read more

Amazon.com

John Sayles brings observant compassion and calm insight to Casa de los Babys, a fiercely independent film with a peerless ensemble cast. Dispensing with traditional storytelling to focus instead on the turbulent emotions surrounding the adoption of babies by American women in an unnamed South American country (filmed in Acapulco, Mexico), Sayles takes an unobtrusive approach to their dilemmas, listening (and filming) like an understanding friend to these hopeful women, who are either bound or separated by their disparate personalities. Sayles also covers both sides of the adoption equation by including a Latina mother (Vanessa Martinez), certain that her baby will enjoy a better life with adoptive American parents, but still struggling with the anguish of her sacrifice. This isn't on par with Sayles's best work (and reviews were predictably mixed), but there's not a false note anywhere, and the cast (including Daryl Hannah, Marcia Gay Harden, Maggie Gyllenhaal, Lili Taylor, Susan Lynch and Mary Steenburgen) is uniformly superb. Sayles isn't playing social commentator here, and that's to his credit. Instead, Casa de los Babys is a sensitive film about a sensitive subject, allowing viewers to draw their own conclusions. --Jeff Shannon ... Read more

Reviews (5)

A great movie
Casa is a great movie about life and life in South America. While these women are looking to adopt babies, with poor children around. It shows Americans what South America really is.

Another winner from John Sayles
I always watch for films directed by John Sayles. His latest film, "Casa de los Babys" takes a fictional look at the adoption process in Mexico. Six women--5 Americans and one Irishwoman--are holed up at a hotel in Mexico awaiting approval of their respective applications before taking their newly adopted babies back to America. The soon-to-be mothers (including Lili Taylor, Mary Steenburgen, Daryl Hannah, Maggie Gyllenhaal, and Mary Kay Place) have all sorts of personal problems, and for some of these women adopting in America would be problematic. A sense of competition exists between the women as they wait for their babies--who will be the best mother? Who doesn't 'deserve' to be a mother? Each woman has her own unique theories about child rearing, and, of course, the fact that these theories are untested does not make the women deviate one bit.

Senora Munoz (wonderfully acted by Rita Moreno) runs the hotel that houses the waiting women. It's just a business to her--one she'd rather not examine too closely. The orphanage provides her with a living and also puts food on the table for the employees who lead marginal lives. The film raises some very interesting questions about adoption--some of these questions are tackled directly on the film. Senora Munoz's useless would-be-revolutionary son wonders how Americans would feel if Mexicans adopted American children and then subsequently raised them in Mexico. He believes this would be considered an outrage and that even if it were allowed to happen, it would be strictly regulated. The alternatives for the children who are not adopted are hopeless--throughout the film a band of street beggars--just children--roam around looking for opportunities to get enough to eat. There are holes in the adoption process for the Mexican children, and that is blatantly obvious as it is revealed that the severely unpleasant Nan's (Mary Kay Place) stories simply do not add up. But no one cares enough to block her application.

I was a little concerned that this would be a 6 women get-together-touchy-feely-exchange thing. Faith in the director John Sayles told me this film would deliver more than just some lukewarm chat sessions. I was not disappointed. Only one scene was over-the-top with sentimentality--one character waxed on for an interminable amount of time about her soon-to-be daughter. The scene was excessive. The rest of the film, however, offers tremendous food-for-thought.

Ultimately the film is about hope--hope the mothers have for their new children, hope that drives people to purchase a lottery ticket with the only money they have, and hope that keeps people going day after day with the idea that life will improve. Comments from John Sayles are included in the very worthy DVD extras--displacedhuman

Presenting the "Big Picture" of Adoption Industry
I was so deeply immersed in this movie I had a very hard moment when it suddenly ended. The ending might have been at the appropriate time movie wise, but for me it was too fast, without satisfying my curiosity for what happened next. My feeling is also validated by any objective measure as the movie is only 95 minutes long. What does the future hold for these six women and their babies? I remain with my thoughts and guesses built on the information we were given during the film.
"Casa De Los Babys" holds everything I love about movies. A wonderful group of actresses (I admit I was a prejudiced viewer - what can go wrong with such a great group of actresses in a movie about such a feminine issue), a human story where another angel is presented or revealed at each stage of the plot and a beautiful setting. Five of the six characters were able to gain my sympathy (some immediately, some after a while) throughout the movie and the one character that did not, stands out completely and was clearly intended to be brought out this way. Nan, played by Marcia Gay harden is no doubt a character everyone despises although her character might be a little too extreme. The Irish actress Susan Lynch is always a pleasure to watch especially in such an endearing role.
I would like to note that I was mostly surprised and pleased by Daryl Hannah playing "Skipper". This actress never impressed me (except maybe in "Kill Bill"...) but in this movie she manages to deliver a very clear picture of a sensitive woman with an athletic "ice queen" appearance holding much inside. Her secret is exposed in a beautiful scene with Maggie Gyllenhaal playing the rich, somewhat naive Gennifer. This very dramatic scene is a tribute to the acting abilities of both actresses. Skipper is performing a massage to Gennifer who is very clearly uncomfortable with the situation. During their conversation Skipper reveals her past efforts to have a natural child
Another moving scene is when Asuncion, the Latin maid, watches her little sister through the window shields. We only see her eyes but a whole world of feelings is expressed by them.
The six women are waiting for their babies in a foreign land and have no other choice but to be in each other's company. They pass their time touring the area and gossiping about each other. The hottest topic is whetehr this or other woman is worthy of being a mother, and this indeed is what the viewer is also asking himself. However the six women are only part of the whole story. Other semi stories include a group of street children showing us what becomes of these children who were not lucky enough to be adopted, and on the other hand political conversations of the American capitalism and its exploitation of the Latin resources (babies in this case). We are presented with all angels of the baby adoption enterprise and need to draw the conclusions ourselves.
The movie suffers from this surplus of semi plots and characters since it seems the director was more concerned with the "big picture" then with the personal stories which more concern the simple viewer such as myself. Six main characters (each one with enough substance for a seperate tale) and a host of several more sub stories are difficult to present in such a short time. This overflow clearly undermines the outcome.
In any case, a pleasure to watch.

A Movie that is not a Movie
John Sayles has a way of taking the filters off our civilization that allows us to observe the people around us in a casual manner without any of the clutter of the 'Hollywood take'. His movies deal with real issues, issues that most people would not think fodder for an interesting film or even story. But with Sayles integrity, his films offer the opportunity to 'overhear' as a hidden observer issues that are usually avoided. Some of his other films - 'Lone Star', 'Secret of Road Inish', 'Passion Fish', 'Lianna', and the much underrated 'Sunshine State', among others - have dealt with one-on-one relationships. In CASA DE LOS BABYS Sayles manages to gather six women waiting in Latin America for a baby to adopt, living in a hotel under the hard thumb control of Rita Moreno (always a joy to see in film!). The women are all unique in their desires to adopt, their backgrounds, their expectations, their inner turmoil and their facades, and Sayles quietly and without much hoopla lets us just observe the playing out of their lives as they wait for their 'new babies'. The story works beautifully, largely due (in addition to the direction and writing) to the quality of performances of the cast: Marcia Gay Harden, Mary Steenburgen, Maggie Gyllenhaal, Daryl Hannah, Lili Taylor, and Susan Lynch. And the Latin women who represent the other side of this quasi- legal adoption agency stance are equally well cast. This is a sleeper movie but one that will say with you long after the quiet credits have completed their role down.

Casa de Los Babys
I found this movie to be very touching and real. It isn't John Sayles best movie, but we've come to expect something totally stunning from him every time. It is however very much worth seeing. It gives a very gritty feeling of being in Mexico waiting to adopt a baby. The women who play the main characters do great acting. They play a cross section of very genuine personality types. No plot, just the drama of daily life in an emotionally volatile situation. Brings up all sides of the issue of adopting babies in foreign countries, including a very moving portrayal of the life of homeless street children. ... Read more

Reviews (6)

Noble Effort
In this movie, ambition overreaches result, and the usually clear sighted John Sayles flounders. There are moments of brilliance, as when the camera turns sharply to pick up new threads in the sprawling interweave of city intrigue that composes the central theme. But the sprawl ultimately proves too unwieldy for even Sayles' considerable talent. I only wish he had succeeded. The backdoor machinery of city politics needs sensitive treatment of the kind Sayles can deliver. But the script falters and the characters seldom rise above uninteresting stereotype. If its true that too many cooks spoil the soup, it's also true that too many soups spoil the cook, no matter how versatile the latter. Here, director-producer-writer-actor Sayles simply raises more urban issues than he deals with effectively: police corruption, brutality, racism, homophobia, kick-backs, drugs, influence peddling, organized crime, with a symbolic love story thrown in - in short, the whole 9 yards that keeps cities operating. Unfortunately, the end result is a force field that pulls apart rather than brings together, making the whole effort appear pointless.

Too bad, because such unconventional scope requires unconventional methods of the type Sayles attempts. But I'm not sure it's possible to force such a life-sized tapestry into an ordinary two hour time frame. Perhaps something on the order of a Godfather trilogy with a central focus on the Nicky character would accomodate the filmmaker's expansive vision. Trouble is, political mavericks and independents like Sayles seldom get the financing necessary for following through. Looks like he may be consigned to work the fringes in the brilliant and committed fashion of Matewan and Eight Men Out, for which there is nevertheless always an audience.

Pay no attention to Maltin...
This film is every bit as good as the Amazon review says. Reminiscent in some ways of "Bonfire of The Vanities", it is a much, much better film than that one was, despite an obviously much lower-budget shooting. If you are a Cincinnatian, you will have a little bit of side-fun trying to identify many of the Cincinnati locales where much of this film was shot. It has a totally credible urban grittiness and one is not sure after the end of the film just how ironic the title was intended to be. Another film to see if you like this one is "City Hall", with Pacino,Cusack and Aiello.

Slightly didactic, immensely powerful
Thouht this film does not connect with the seamless mastery of Lone Star or even Matewan, it has an undeniable haunting power, especially in its lengthy and distanced final image. The major flaw in this film, and in Sayles films in general, is his tendency to use the screenplay as a pulpit, creating characters and dialogue to make an often heavy handed statement. Take for example, the two griping women who complain that no one listens to them, or the militant Black Muslim. Fortunately, Sayles quickly leaves the preaching behind and allows his characters, their dillemmas, and their interactions to move the audience subtly, emotionally, and profoundly. The intertwining narratives are constantly engaging- whenever the film would move from one to another, i would find myself excited to return to that thread. joe morton is the standout from the film, but the performances are universlly excellent. Highly reccomended.

Sayles is a Master
I've seen several John Sayles films and have been more or less impressed with all of them. This finely wrought and under appreciated little treasure, though, is probably his most complex and evocative. It's a formidable task forging a coherent drama out of the loose ends of lives with which Sayles starts. All this done in the milieu of a corrupt city, tangled relationships and hopelessness. Even the humour is bleak. The enigmatic figure of Asteroid, a raving street person provides continuity to the disjoints and reflects the futility and lack of meaning in the lives here. It is a dramatic device of real brilliance. The ironic title alludes to the fact that the major characters, the Father and Son, are trying to reinvent themselves in a nobler image.. with tragic consequences, as the corruption lashes back at them. Whether it was worth the attempt is left to the viewer. The film ends without fully resolving the tragedy, a spark of hope remains.

Great one
This is a great movie. If you like 'Lone Star', you'll also love this one. Otherwise, see both movies. It portrays the many competing forces within a city with real characters and interlocking plots. Don't believe what Leonard Maltin said about losing momentum in the end. No, it doesn't have an indulgent happy ending, but who in real life have happy endings? ... Read more