Reviews (601)

Seriously underrated horror film.
Watch this movie back-to-back with Brett Ratner's "Red Dragon" and you'll understand what separates a great director from a pedestrian one. Ridley Scott has crafted a classic horror film. A film that, despite justifiable complaints about the "easy way out" ending, leaves a surprising amount of the novel's surreal mayhem intact.

Dark cinema fans should embrace this one. It's not often you get a true horror film with a dazzling cast (Hopkins, Giancarlo Giannini are incredible, and Julianne Moore doesn't make us forget about Jodie, but makes the best out of a tough situation).

Oldman's portrayal of Mason Verger makes the film, however. Pathetically evil, obsessed with revenge -- it's impossible to take your eyes off him. The opening sequence of the movie (where Verger purchases Hannibal memorabilia) is a delightful intro. Verger's self-mutilation flashback is jarring and surreal.

The Grand Guignol gore style of the movie has been seen by some as laughable. I thought it was quite disturbing, the absurdity adding another dimension of terror to the film. Like all great horror films, as a viewer, you're not sure just how far into nightmare territory this one will go (particularly if you haven't read the book).

If only DeLaurentis had chosen a worthy successor to direct Red Dragon, the Lecter trilogy would've easily been the best horror cinema series ever.

While "Silence" is clearly the biggest crowd pleaser of the bunch, and a very sophisticated thriller, my heart is with Hannibal. It's absolutely beautiful to look at, holds up amazingly well under repeated viewings, and never shies away (until the very end) from the novel's most appalling elements.

Good horror flick. Bad Hannibal Lecter movie.
Hannibal is one of those sequels that continues from the original, but completely changes the story line. The Silence Of The Lambs was a drama about entering the mind of a serial killer with the help of a past one. Hannibal is just about tracking down a serial killer. This was definatly made to be a horror movie, not a suspense drama.

Hannibal picks up awhile after The Silence Of The Lambs. In the first film, Hannibal breaks out of prison torwards the end of the film not to kill again, but to retire and live a normal life. But now Dr. Hannibal Lecter(returning Anthony Hopkins), is about to come out of retirement to hunt again. But only Clarice Starling(Juliane Moore replacing Jodie Foster) knows enough about him to track him down and catch him.

The plot is simple, nothing near the plot of Silence Of The Lambs, the acting is not bad but definatly not at its best(Anthony Hopkins still plays his role rather well, but could have done better). The only thing I could say was rather good was the directing from Ridley Scott(Alien, Gladiator, Black Hawk Down). But other than that, fans of horror movies will probably enjoy this much much more than fans of The Silence Of The Lambs, like myself.

"Hannibal" runs for a little over 2 hours. It is rated R for very strong gore and gruesome violence(some may not even be able to handle the some of the extreme gore), some strong language, and disturbing images.

Disappointing, floundering follow up
When Thomas Harris wrote Hannibal, it was a safe bet that a film wouldn't be far along. Silence of the Lambs director Jonathan Demme and star Jodie Foster declined to take part in Hannibal claiming they found the story distasteful; so director Ridley Scott (Black Hawk Down, Gladiator, Alien) and actress Julianne Moore (replacing Foster as FBI Agent Clarice Starling) were brought into this disappointing follow up. Hannibal Lecter (Anthony Hopkins reprising his Oscar winning role), now living the life of luxury in Italy, finds himself on the run from Mason Verger (an unrecognizeable and uncredited Gary Oldman), a former patient who at Hannibal's advice peeled off part of his face. Meanwhile, Clarice finds her career on the downward spiral as she as used as bait by Verger to lure Lecter out of hiding. The suspense can't hold up to that of Silence of the Lambs (movie or book that is) and Scott's direction, even though he gives it his own slick look, is disappointing. Moore, as good an actress as she is, can't hold a candle to Jodie Foster as we find the once strong willed but vulnerable Clarice be more of a victim here than anything else. Finally, Hopkins just isn't scary anymore as Hannibal "The Cannibal" Lecter. That alone is probably the worst part of the film, and while Hannibal isn't necessarily bad, it's one of the most disappointing films to be released over the past few years. The cast also includes Francesca Neri, Frankie Faison, and Ray Liotta in the film's most infamous scene.

Great, not completely accurate, but very good.
The film is based on Thomas Harris' third installment in the "Hannibal Lecter Series" (Although, Hannibal Lecter is only a major character in one book.) The movie's ending was completely different than that of the book. WARNING: IF YOU HAVEN'T READ THE BOOK, AND WANT TO, DO NOT READ THE NEXT SENTENCE! In the book, Lecter basically brainwashes Starling and takes her as his wife and moves to South America. WARNING OVER

Hopkins' acting was not as good as it was in "Silence of the Lambs," but it's very good. Julianne Moore's performance was not as good as Jodie Foster's.

The movie excluded the character Margot, Mason Verger's lesbian sister. I think she greatly enhanced the story's progress. In the movie, anything Margot did that was pivotal to the story (basically, just pushing Verger into the pigpen) Verger's personal doctor did.

Basically, if you're just looking for an amazing movie, DON'T pick this up, if you're looking for a gory movie, pick it up. If you're looking for a good sequel to an amazing movie (Silence of the Lambs.)

Mediocre yet oddly satisfying
Let's face it: "Hannibal" is nowhere near as good as "Silence of the Lambs" (I'm talking movies, not books). To quote Charter, "Far-fetched and gory." Plus it fails to capture Lecter's true intentions toward Starling (as brotherly or fatherly, not romantic). Yet, somehow, the film is oddly satisfying, and I find myself draw to it whenever it's on. The mix of operatic score during chaotic scenes is strangely effective (similar to the ethereal tracks during intense scenes in the LOTR series of films). So, no, it's not a great movie, and Lecter's behavior is sometimes "out of character," but the movie is satisfying nonetheless. ... Read more

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Based on Thomas Harris's novel, Jonathan Demme's terrifying Silence of the Lambs really contains only a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill. In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. The Silence of the Lambs won 1992 Oscars^® for best picture, actor, actress, director, and adapted screenplay.

Ten years later in Hannibal, Dr. Lecter (Hopkins) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Foster), on the other hand, is now a quiet, moody loner. A botched drug raid results in her demotion--and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q&A. Little does Starling realize that the hideously deformed Verger is using her as bait to lure Dr. Lecter out of hiding. Taking the basic plot contraptions from Harris's baroque novel, Hannibal is so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Dr. Lecter doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made Silence so amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. ... Read more

Reviews (7)

Solid thriller combo.
The Silence of the Lambs-Probably the most genuinely disturbing psychological thriller ever made, Silence of the Lambs is a must see, but its dramatic power, dark insight into the human psyche, and ugly violence (most of which is implied) ensures it's unlikely you'll watch this film more than once. But on a first viewing, almost nothing matches this thriller's heart-pounding suspense, from Hannibal Lecter's attempted escape to the literally dark climax. Howard Shore's foreboding score adds nicely to the intense atmosphere.
**** 1/2 out of *****

Hannibal-This underrated sequel looks and feels quite different from its predecessor. It has no intention of excelling as a pyschological thriller, but neither is this a straight through-and-through gorefest. Certainly entertaining but hardly mind-blowing, Hannibal is at least visually stylish and unpredictable, if not also somewhat silly.
*** 1/2 out of *****

Two GREAT, GREAT movies on wonderful special edition DVDs!
While it is a bit sad that all four Hannibal the Cannibal classics will most likely never be released in a box set, I can understand it because of the different companies who have made the movies. This box set, however, is quite excellent. I myself feel that The Silence of the Lambs and Hannibal are both equally brilliant and deserve a place in any person who calls himself a movie buff's collection.

The Silence of the Lambs was director Jonathan Demme's academy award winning 1991 classic. The success of the film, however, should not only be attributed to the director, because it was the work of the cinematographer, editor, writer, set director and, most of all, brilliant actors. Jodie Foster -IS- FBI agent Clarice Starling, brilliant, young, attractive (well, not really) and tough. Foster perfectly displays the emotions that go through her character and her growth throughout the picture. Some of my favorite scenes were where she discovers Buffalo Bill (the way she yells "freeze" is great!) and when she stands up to a crowd of men and orders them out of the room where an autopsy is taking place. Anthony Hopkins completely deserved his academy award as Hannibal. His portrayal of Hannibal and his personality was quite interesting. The way I see it, Hannibal is quite a nice gentlemen, but has a very large problem, that being his love for the taste of human flesh. I think you can tell from his scenes with Clarice Starling what a polite person he is. He might ask some personal questions, but the way he talks is courteous and friendly, if a bit intense. The cinematography of the film is fabulous, too. Clarice's descent into Lecter's holding cell is expertly handled, and the near final sequence with Clarice and Buffalo Bill is almost unbearably intense, thanks also to some wonderful music by Howard Shore. All in all, The Silence of the Lambs is a classic thriller which will live forever and deserves a place in everyone's collection.

The controversial sequel, 2001's Hannibal, is really quite an underappreciated piece of brilliant cinema. Ridley Scott is in top form as director here. The movie is overloaded with style of every type. Slow motion, overhead views, stylish flashbacks, sped up film, intense action and a brilliant use of classical music all add up to create an extremely memorable viewing experience. As for actors, they are all perfect. I was surprised to not think once about how well Julianne Moore was doing in comparison to Jodie Foster, and that was because she was equal to Foster. Rather than copying Foster's performance in The Silence of the Lambs, Moore makes the character her own. The Clarice of this film is meaner, more cynical and has a much smarter mouth than Foster's Clarice. This is because Hannibal takes place ten years after The Silence of the Lambs, so naturally, she wouldn't be such a goody goody, follow-the-rules woman. Anthony Hopkins steals the show as Hannibal. He is just as great as in the previous movies. In this film, Hannibal is free and loose, and from Hopkin's great acting, you can tell how much he treasures his freedom. Just look at how he sips his brandy and his cappachino. I loved that Lecter was free to do what he wanted in this film. Critics like Roger Ebert didn't seem to, and felt it took away from his mystery and creepiness. As much as I love Ebert, I must disagree. Having Hannibal out of the mental home was a work of genius and added a ton of creepiness to the flick. I have read Thomas Harris' novels The Silence of the Lambs and Hannibal and feel that both movies do the books extreme justice, and, unbelievably, outdo them. In the case of The Silence of the Lambs, the movie version very accurately portrays the book version. Hannibal, however, was changed quite a bit. One part of the book I really liked that is nowhere in the film was Mason Verger's lesbian, body building sister, Margot. Also, Mason's love of terrorizing kids wasn't shown much in the film. The ending was suprmemely changed, but believe it or not, I liked the movie ending better. Hopkin's and Moore's performances in the finale are pitch perfect. Nothing removed from the book lowered my love for the film.

This set comes with two fantastic special editions. On The Silence of the Lambs, we find two documentaries, one old and one new, with the latter being quite fabulous. There are twenty minutes worth of deleted material. Some stuff was worthless and some stuff was very good, like one where Clarice is suspended by the FBI (Krendler's hate of her is set up for the sequel). There's also a rather funny phone message Anthony Hopkins left on his answering machine. Finally, posters, TV spots and a trailer are presented. The movie is in excellent 1:85:1 anamorphic ratio and has great 5.1 surround sound. The sequel is a fully laden two disc extravagenza which includes commentary by Ridley Scott, a very long documentary, 38 minutes of deleted and extended scenes, trailers and an "anatomy of a shootout" feature. Also presented in 1:85:1 anamorphic widescreen and with really good 5.1 surround sound. If there is any problem with these DVDs, it is the fact that the The Silence of the Lambs disc has almost none of the features found on the Criterion DVD, which included what I hear was an excellent audio commentary. It sounds like Criterion has a real problem with passing over any special features to a different company, so I can't blame MGM.

Overall, both of these films are masterpieces and the set is great. Also pick up Manhunter and Red Dragon on DVD from Anchor Bay and Universal.

If you found my review helpful, please vote for me. Thank you.

Now, if you'll excuse me, I'm having an old friend for dinner. Ta ta.

A Thrilling DVD Collection
1992: "Silence Of The Lambs" struck a chord with audiences, causing them to visit their therapists more often, it was said, and people became fans of Anthony Hopkins' portrayal as the elegant, intellectual, charming but psychotic cannibal ex-therapist Hannibal Lecter. Based on the novel by Thomas Harris, the movie won a host of awards, including best picture. Jodie Foster portrayed the novice FBI agent Clarice Starling, whose chemistry with Hopkins was what carried the weight of the film and made it an Oscar winner.

On DVD, the experience is very thrilling and state-of-the art. Silence Of The Lambs still sends chills down our spines, and engages us in a disturbing world of madness, tinged with cynical humor and engrossing conversations between Hopkins and Foster. Anthony Hopkins is Hannibal Lecter, the former therapist turned cannibal and criminal. It's undoubtedly Anthony Hopkins' trademark role and one that he will be remembered by. We are unnerved when Hannibal Lecter first meets Clarice Starling in the dungeon of the prison, where he confesses that he once "ate a man's liver with some fava beans and a nice chianti". To extract information revolving the transvestite skin-collector Buffalo Bill, Clarice must reveal deeply personal and traumatizing events from her childhood. She recalls running away from an abusive home only to witness the slaughter of innocent lambs in a farm house. The memory continues to haunt her and is reawakened by the hypnotic power of Dr. Lecter. The movie ends with the capture of Buffalo Bill and Clarice Starling's promotion. But Dr. Lecter manages to escape his cell and vanishes into Italy. Which brings us to the next film in the collection, the sequel, also based on the book by Thomas Harris. The follow-up "Hannibal".

2002: Ten years after the release of "Silence Of The Lambs", and ten years after the plotline of that particular film, we find Clarice Starling in a precarious situation. She has been demoted during a violent incident and is still haunted by memories of Dr. Lecter. A lonesome woman, she receives letters from Dr. Lecter, who (like old times) wishes to help Clarice get her career going again and capture another notorious psychotic killer. Dr. Lecter has been living a comfortable and reclusive life in Florence, Italy, a city which had always enchanted him. In Florence, Lecter attends operas, plays Bach's "Goldberg Variations", sips champagne and yes, still hungers for human flesh. Clarice and another agent (played by Ray Liotta) attempt to foil Dr. Lecter's machinations, but are captured and imprisoned in the dining room of Starling's home. In a disturbing sequence, Dr. Lecter, Starling and the FBI agent eat a dinner with the main course being the agent's own brain. Dr. Lecter manages to escape once again.

Most recently, the pre-quel to the events in "Silence Of The Lambs" was released, based also upon the successful Thomas Harris novel "Red Dragon". Red Dragon is still to be released on DVD. These films are the perfect "thriller" collection, each with its own striking features, plus interviews with the actors and director. For fans of the Thomas Harris novels and fans of the films, this is a genuinely superb gift.

Good Movie, Good guy Lecter
I honestly think this is a good movie, but their are a few things that bother me. For one, besides when he hung the one guy, Hannibal Lecter is more of one of the good guys in this movie. Lecter has some sort of skill to make people do what he wants, He even made Mason's helper throw Mason into a lair of boars and Clarice helps him escape.

Brilliant Anthology
Although Hannibal may not have been nearly as good as the first I still thought Ridley Scott did a great job of directing it and The Silence of the Lambs was also very very good and had great acting all around. Be sure to check out Red Dragon it's as good as The Silence of the Lambs! ... Read more

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Bruce Willis's awful, 1991 vanity piece is an abuse of audience goodwill and a waste of a good cast and director (Michael Lehmann of Heathers). The story, cowritten by Willis, concerns a cat burglar pressured into stealing precious art, including some from the Vatican. But the script is just a convenience upon which Willis piles his vaguely boorish brand of hip irony, assuming his audience will stay with him every step of the way. Certain, self-congratulatory scenes induce cringing--Willis and Danny Aiello, for instance, sing "Side by Side" (to brassy accompaniment on the soundtrack) every time they're working a job--but the overall effect is more irritating and baffling. Keep a good thought for Willis (an underrated actor better than the summer junk we usually see him in) by checking out his superior work in Pulp Fiction and his small but memorable role in Billy Bathgate. --Tom Keogh ... Read more

Reviews (93)

Almost Believed The Hype
My love of this movie began when I was home alone channel sufing. Stumbling across this film on UPN, I checked my Trusty TV Guide and found they only gave it one star. I decided to do a MST3K on this apparently rotten film. I Was unable to do so because there was one small problem. This film is the most convoluted, twisted, Hitchcokian piece of Funny stuff I've ever seen. Being of Fan of totally random stuff, I was over whelmed by the randomness of this film. A butler has Knives spring out of his Arms. Bruce willis ( as Hudson) and Danny Allieo time a burgarly with a rendition of "Swingin on a Star" The pope watches Mr. Ed. And THrough it all, Hudson just wants a coffee. You see the McGuffin of this film may be Da Vinci's Book of Fun & games, but the real driving force in this film is Hudson's coffee. This movie has many one-liners that I can say to my friends and they have absolutly no idea wher it comes from. Many other reviews talk about A Deus Ex Machina ending. I have no idea what tha is really, but the end, the beginning and yes eventhe middle are full of great stuff. Dont Listen to critics! in Some fashion. everyone should see a portion of this underated classic.

Ahead of It's Time
I, too, was one who saw this movie when it was first released (right after "Die Hard") and fell to the original disappointment. Recently, I decided I had to buy the DVD to add to my Bruce Willis movie collection because I knew it was an important movie to this artist (he created it, helped write it, etc) and I am such a fan of his talent. You can't imagine my surprise to find that watching it now, years later, I thought the movie was hilarious! It is the kind of movie that is best described as "just plain fun". My jaw hurt from laughing so hard for so long! The only explanation I have for not liking it when it first came out...but, loving it years later is that the type of humor that was in "Hudson Hawk" (Bruce Willis humor) was simply ahead of it's time! I am glad I finally caught up! Buy the DVD if possible and listen to the director's commentary to find hidden humor that surely passed by you unnoticed when you watched the movie. If you only like movie's that have twisted plots and make you think...then, this movie is not for you. But, If you like to kick back and just get lost in the fun...you'll enjoy this movie tremendously!

what the hell...
This is one of the worst movies ever made. The comedy can only be enjoyed by a preteen. An R-rated movie starring Bruce Willis with loney-toon style sound effects and all of the crappiest things you can think of. This movie is horrible. In order to like this movie you must have had a full lobotomy.

Classic film like no other!!!!
I remember really diggin the hell out of this at the theatre, despite the fact that it tanked and I was all of 12. What gets me is that- I understand why your average brainwashed zombified office drone wouldn't like this but the critics panned it too. Actually, that doesn't surprise me, given the heidi fleiss treatment they've lavished on the wretched 'Troy.' Anyway, Glad to see there's a little amazon cult of like-minded souls who appreciate the hilarious absurdity, one-off jokes, great performances, neat ideas and all around craziness this movie delivers.

Yeah, there are some plot problems and pacing is off-kilter, but heck, this film is so much fun from the first second til the end when Eddie finally gets his- no I won't ruin it... Give it a chance. I haven't perused the DVD but doubt it has much extra stuff. This isn't the kind of film the gets the redux.

If the thought of Danny Aiello, Bruce Willis, James Coburn, Sandra Bernhardt, Andie McDowell (no relation to Malcolm), a young David Caruso, and a handful of other dynamic character actors doesn't appeal to you then stop reading now. Moreover, if the thought of the world's greatest jewel thief stealing Da Vinci treasures, a Vatican spy agency, an over-the-top madman entrepreneur and his depraved wife aimed at destroying the world's economy, a corrupt CIA covert ops team called "The Candybars," doesn't pique your interest then go back to bed.

Some of the best one liners I've ever heard. They never get old. "I must speak with the dolphins now." "Just kill her- Darwin! This is supposed to be torture, not therapy." "Bettie Jo Baijarsky? I can get you an address on that." "Bunny?!? Ball Ball!!!"

If you like Bill Murray's everyman attitude in ghostbusters then this film's humor will appeal.

In summation- If you dug 'Ice Pirates,' "The Princess Bride," or any Terry Gilliam film you will probably dig this one.

ciao.

Oh, get over yourselves
I hate stupid movies. Mel Brooks annoys the hell out of me. But I like, nay, LOVE Hudson Hawk. One of the few movies not directed by David Lynch that constantly leaves you thinking "What the f___?" in the same way that "Fear and Loathing in Las Vegas" leaves you thinking "What the f___?" It's an acid-soaked Catholic caper with snappy dialogue and great Bond-esque one-liners. You just have to let go of sanity and roll with it. As for the all-knowing movie gods who panned this scategorical masterpiece, what do they call you, Ig and Ook? ... Read more

Reviews (32)

Outstanding view of the greatest castrato
Set in 18th Century Europe, this is the story of castrato Carlo Broschi (known as "Farinelli"), arguably the greatest (at least the most popular) singer of all time. The film delves into his life in a deeply personal, if fictionalized, way. Reminiscent of "Amadeus" in its mixture of truth and fiction, we follow the lives of Farinelli and his brother, the composer Ricardo Broschi, from street trumpet duels through stardom, and Farinelli's life as a court figure and personal singer to King Phillip V of Spain.

Farinelli struggles with fractured memories and painful questions as he learns to use his talent apart from his brother's composing. No, no, that's too flat a description of the story -- after watching this film MANY times, I must say that each time I see it, I find new sub-plots and new techniques applied in direction, cinematography and music.

The film features lush cinematography and a unique and rich soundtrack (featuring the computer-b! ! lended voices of Derek Lee Ragin, Counter-tenor, and Ewa Mallas-Godlewska, soprano, to simulate the vocal range of Farinelli).

I could not give a higher recommendation to this film, which I *believe* won a Golden Globe for best foreign language film, and was nominated for an Oscar in the same category.

CORRECTIONS: Stefano Dionisi is the star, not the Director or Producer (the listing should read, "by Gerard Corbiau"). Also, the name of the film is "Farinelli, Il Castrato" END

A Second Review Of A Great Film
Director Gerard Corbiau's Farinelli won Best Picture of 1995. The foreign film, mixed Italian and French, retells the story of the famous and greatest castrato singer Carlo Broschi. The film is exotic, intensely emotional and loaded with beautiful music of the Baroque Era (1600-1750). With all the good things about this movie, comes some things that might be rather disturbing or inappropriate for a younger audience. This is assuredly an adult film. There are two explicit sex scenes at the beginning and end of the film. This is a movie for an adult who is interested in the period, in the life of the castrati and in opera at this time. The opening introduces Carlo Broschi as a little boy singing in the church choir. Another young lad has been castrated to preserve his voice and is so mortified he leaps to his death. Eventually Carlo's brother Riccardo is obligated to do the same to his brother. We don't learn until later in the film that it was Riccardo and not Carlos' brother that conducted the castration. Here, Farinelli is usually quite ill and is forced to take opium as medicine. Farinelli does not seem to think highly of his brother's operas, which are written exclusively for his voice. Instead, he believes the greatest composer of this time is George Frederic Handel, played convincingly by Jerome Krabbe. In a dinner party, in which the Nobles insult Handel, Farinelli is outraged and declares that Handel will long be remembered and not the Nobles and their operas. This ends up being true since Handel is considered one of the greatest composers of this period togeter with Johann Sebastian Bach.

The movie has some inaccuracies and are not historically true. Naturally, this being a costume drama, there are some elements which were entirely fictional created for the sake of sensationalism. Although it is true Riccardo Broschi did compose operas for his brother Farinelli, there is no real evidence they "shared" the women they bedded. In the movie, a Countess is so enamored with Farinelli that she jumps into bed with him only to discover he's castrated. Thus, Riccardo plants the seed and Farinelli only lures the women into bed and seduces them. This is fabricated material to "sex up" the movie. In real life, Farinelli I'm inclined to believe was chaste. He sung many times for religious services and was a devout Catholic. He may not have been at all bitter for his castration since he lived like a king all his life, surrounded in luxury. He was well acquainted with European royalty, all of Europe loved him and he died after years of singing in the chambers of King Phillip of Spain. The rivalry between the Nobles Theatre Opera and Handel's opera company is true. In fact, it remains the only true thing about this movie. The English in London disliked the German foreigner Handel and his prominence in London. He was so beloved that even King George and Queen Anne protected him. The Nobles schemed endlessly to get rid of Handel. The portrayal of Handel as a musical genius, a man of stubborn, perfectionist character is all true. I think the most moving scenes are those with Handel, such as the scene in which Farinelli is overhearing him play the organ in the church and is moved by the music and the scene of Farinelli singing "Lascio Chio Pianga" from Rinaldo which ultimately moves Handel to tears. All the scenes of opera and Farinelli singing in his majestic costumes in this movie are stunningly beautiful. Finally, this movie's soundtrack is incredible. It contains the combined voices of tenor Derek Rogin and soprano Ewa Mallas as the singing voice of Farinelli. The arias sung here are taken from Riccardo Broschi's operas Idaspe and Artaserse and from Handel's Julius Caesar and Rinaldo. A superb film and a must see for fans of Baroque opera.

The Exotic History Of Opera: Farinelli The Great
This DVD comes equipped with English translation from the Italian that this movie was made in. There are also subtitles in French and Spanish, as well as scene selections. French director Gerard Corbiau decided to make a lush film about the life of Farinelli, the greatest castrato singer in all history, portrayed by Italian actor Stefano Dionisi. On DVD, this film looks exquisite. It's a film of adult material (nudity and sex) and for specialized interests. Opera buffs will want to take a glimpse back to the early days of Baroque Opera when the castrati were the music idols of their day, enjoying rockstar status and great wealth. Everything about this film is really engaging to look at. The authentic historic costumes and the precise European locations provide the film with an immediacy and virtual historic escape. We are there in 17th century Italy following this dramatically heightened take on the career of Farinelli. Stefano Dionisi does a great performance, though his effiminate looks, mischief and diva temperament reveals something of a homosexual but this notion is taken into question when we see him in the love scenes with the many beautiful women that are his groupies and loyal admirers of his voice.

This drama may not be entirely true. The story of how the two brothers who are at conflict (one brother reaps the benefits the other is left frustrated and obscure) may be a deliberate attempt to resemble Milos Forman's Amadeus.Farinelli came from a family of musical ambitions and when he was about to hit puberty he wanted to be castrated for the sole purpose of making millions of money and acquiring world fame as a singer. Castrating male youth so as to keep their high-pitched soprano range was an Italian custom, which died out in the 18th century where women began to enjoy more prominet roles in opera, such as the operas of Mozart. Farinelli was the greatest castrato singer of his day. He was incredibly rich and enjoyed the company of royalty. After his many theatrical performances in operas by Handel and other composers, he gave up the stage to sing in the private chambers of Spanish King Phillip V. He lived in luxury there for the rest of his life.

The film is exotic and beautiful to look at and to listen. The music of Handel is prominent, since it was Handel who most wrote for the castrati voice. Impressive are the scenes at the opera, where Farinelli dazzles and mesmerizes his audience against the colorful and elaborate Baroque stage sets. In one scene early in the film, he sings what looks like the sun god Apollo, in a feathered helmet, and is briefly interrupted by a young lady's turning the pages to a libretto. He continues his singing and finishes with an elongated note that is impossible to hold for any tenor or soprano nowadays. Today, the castrati vocal sound is extinct. Perhaps close to it, and even this by a little off, is the male countertenor or a highly developed falsetto. I find that the female mezzo soprano voice is the closest to castrati singing, especially Cecilia Bartoli. Her singing in the recent Salieri Album comes dangerously close to sounding like castrati.
In the movie, creative editing and synthesizing combined a tenor's lung power and a soprano's high top register to effectively portray the sound of a castrati, which sounded like a weird blend of male and female voices, with the female being the stronger range. With that voice, coloratura is unleashed with freedom, agility and high-flung acrobatics.

Never more impressed
I have eclectic tastes--I watch Fellini, Altman, Halstrom, Eastwood, and Campion with equal enjoyment. But I have never been more impressed with a film than with "Farinelli."

This is a character-driven story, not a plot-driven one. In "Farinelli" the essential debate in all art is fully played out on film: From whence does artistic beauty spring? From the interpretive vehicle or the creative one? From the source of the inspiration or from the one who is inspired? It even dares to ask whether there is an element of destruction in the act of creation. The triangles outlining this debate abound. Handel-Broschi-Farinelli is underscored by the relationships between Farinelli-Broschi-Alexandra and between Performer-Composer-Audience. I have seen this film 6 or 7 times and I still rediscover parallels along these themes. It is an impressive achievement to use art to outline art's own tensions without ever once losing sight of the overriding storyline or forcing your actors into unnatural posturing for the sake of making a debate point.

Others have praised the sets, acting, music, lighting--in short, the ambience and opulence of the film. All that is here. And yet all that is also in "Amadeus" and "Immortal Beloved." What this offers that the others does not is the insider's take: If you watch this movie, you will feel Farinelli's emotions, Broschi's emotions and Handel's emotions as they strive for recognition through their art. This is not a movie from which you walk away sympathizing with one character or another. This is a movie from which you walk away knowing you have lived someone else's experience for a brief time.

Farinelli-Great movie
I saw this movie in the theartre when it was new. It's such a beautiful film to look at, and the music is so incredible you forget that it's in Flemmish and you're reading subtitles.

If you like this movie I would also reccomend reading "Cry to Heaven" by Anne Rice. It's a story of the castrati and gives you an understanding of that time in history. It's a great compliment to the movie. As one has nothing to do with the other it's just a very fortunate coincidence.

It's sad that there are no recordings of these beautiful voice as this custom was stopped and those who had performed had died before machanical recordings were popular. I beleive there was one who was actually recorded by Thomas edison on his new invention.

It's something anyone alaive today will never be able to hear. ... Read more

Amazon.com

Winner of the prestigious Golden Lion award at the 1998 Venice Film Festival, The Way We Laughed is another richly layered drama from Gianni Amelio, the acclaimed director of the multiple-award-winning 1995 arthouse hit Lamerica.A tragic tale of brotherhood, Amelio's ambitiously structured film spans six years (1958-64) in the lives of an illiterate Sicilian named Giovanni (Enrico Lo Verso, from Lamerica) and his younger, enigmatic brother Pietro (Francesco Guiffrida) as they seek a new life in the class-divided city of Turin. Divided into six novel-like chapters that cover one pivotal day in each passing year, this emotionally resonant drama reveals how the gradually successful Giovanni desperately wants Pietro to achieve respectability as a schoolteacher. But when a sudden murder forces each brother into moral compromise, Amelio's film evolves into a mysterious study of dysfunctional loyalty, charting the growth of postwar Italy as it charts the love and sacrifice that will change the brothers' lives forever. While it demands the viewer's rapt attention, The Way We Laughed is a satisfying film that offers no easy answers to its complex human equation. --Jeff Shannon ... Read more

Reviews (2)

A Stunningly Masterful Telling of an Intimate Story
THE WAY WE LAUGHED is clearly one of the finest films ever made about the intensity of familial connections in general, and brotherly love in particular. Gianni Amelio is a sensitive director not only to storyline, but to character development, scenic atmosphere, capturing monumental conversations in the mere lingering of the camera on the eyes of the characters, pacing, and in inspiring his actors.

The story is about two brothers from Sicily - Pietro, the younger brother has left home for Turin, Italy creating a life style and appearance of an upper class lad, and the older brother Giovanni who is illiterate, real, warm and a laborer whose life is focused on the pride he feels for his younger brother's intellectual achievements: Giovanni is just arriving in Turin as the film opens in 1958. The story spans 6 years, is divided into six chapters - one day in each of the 6 years - and it is from these short glimpses that we are asked to follow the interaction of the two brothers.

For all of Giovanni's warmth and open love for his younger brother Pietro, the Younger Pietro appears secretive, has odd habits, is quietly deceitful, yet accepts the hospitable and financial love and assistance from his brother. There are long stretches of silence between the brothers about which we are not informed, and events transpire that lead Pietro to become a successful student and Giovanni to become a Padron for immigrants, gradually raising himself to be a married landowner.
In the 5th chapter we see a conflict that involves both brothers and a third 'victim' and it is this unfortunate crime that forever alters the lives of both brothers. This turning point is magnified in the last chapter as the successful Giovanni has just had a son named for his brother and the brother is summoned to his large home in the Po River Valley to stand as Godfather to his nephew. But the change in the once proud Pietro shows a role reversal and while some may consider he has been in an institution for drugs or something else, he actually has been in Reform School, having lost all his joy for life, and now will proceed to prison. Though the reason for his downfall is not clear, it appears in retrospect that he has taken the blame for Giovanni's crime - perhaps the more compassionate standard of brotherly love imaginable. At any rate, the film leaves us with the concept that there is no way to measure the depth of love in familial bonds between two brothers. There is no right, there is no wrong, there is only love.

This is visually a dramatic epic that manages to capture the grit and grime of the living conditions of the poor working class in Turin, the wondrous plays of light in the deserted streets of Turin at night, and the redemptive beauty of the sun-drenched Po River Valley where the films comes to an end. Enrico Lo Verso is amazingly fine as Giovanni, walking with all the pride of Sicily and the humility of the uneducated. As Pietro, Francesco Guiffrida captures every facet of this enigmatic character and slowly wins our compassion for the road he has elected to take. THE WAY WE LAUGHED is a brilliant achievement and another example of the extraordinary work of Italian cinematic talent.

One of the Most Remarkable Films of Any Decade
This film is one of the most remarkable and touching movies to come along in decades and deserves to be seen by anyone who appreciates the craft of movie making.

The film, directed by Gianni Amelio, and set in the late 1950s and early 1960s, centers on the relationship between two Sicilian brothers in Turin: the older brother Giovanni (Enrico Lo Verso) and his younger sibling Pietro (Francesco Guiffrida). Pietro is too slick for his own good; he's an operator who has clearly been raised to believe he's smarter than everyone else around him. He lies, cuts class and takes care only of himself. At the beginning of the film, when he ducks out of meeting his brother at the train depot, we learn that Pietro is embarrassed by his older brother, Giovanni, an illiterate laborer who has traveled up from Sicily to be with his brother.

Pietro's motivations are lost entirely on Giovanni, who loves his younger brother unconditionally. Giovanni takes a series of dead end jobs to help support Pietro's schooling, not knowing that his younger brother is the worst student in class, cuts class constantly, and has no regard for the opportunities he's been given. Giovanni is motivated entirely by providing for his younger brother's success, and indeed, he tells all of his co-workers at his various backbreaking jobs about his brother the student, and what a tremendous success he is.

"The Way We Laughed" doesn't deal with time in a straight linear fashion, and it moves ahead by years at a time. By the film's conclusion, Giovanni has become through his hard work a successful landowner with a large spread in the Po River Valley. His brother, Pietro, has had some kind of a breakdown, or maybe has become a drug addict (it's not entirely clear), but nonetheless, Giovanni still takes care of him and seeks to provide for him. In the touching final scenes of the film, Giovanni brings his dazed, mute younger brother to his estate to meet his wife and children.

The themes of "The Way We Laughed" have been around for centuries, but they have seldom been handled with such beauty or evocation. The exultation of the hard working and illiterate, but ultimately good-hearted and honest older brother over the shifty, selfish and, in the end, self-destructive younger brother, could easily have come off as preachy and abrasively conservative; that is decidedly not the case with this film. Indeed, in seeing this film again and thinking about it, the movie reminds me very much of Flannery O'Connor's short story, "Everything That Rises Must Converge," not only in the juxtaposition of its themes, but also in the deftness with which those themes are handled. It's no easy thing to handle the millennia-old prodigal son theme, and still wring something fresh out of it, but that's what Gianni Amelio does with this film.

One other aspect of "The Way We Laughed" that deserves special mention is the cinematography, which is lush and beautiful, and which sets a perfect tone for the various acts of the movie: Turin is dark, wet and foreboding, the Po River Valley is colorful, rich and sunny. etc...

In sum, "The Way We Laughed" is a movie that any cineaste must see and will most certainly enjoy. ... Read more

Description

Upstaging the neorealist masterworks of Rossellini and Bertolucci, Gianni Amelio’s Lamerica triumphs. A visually arresting tale of moral conflict and the journey that leads to atonement, Lamerica has been hailed by critics everywhere as one of the best films of this past decade.

After nearly half a century of communist rule, a poverty stricken Albania falls subject to the invasion of two exploitive capitalists looking to prosper within the changing economy. As Albania’s people try desperately to flee destitution, Gino (Enrico Lo Verso) and Fiore arrive from Italy with plans to use a makeshift manufacturing plant to front their next scam. Forced to name an Albanian citizen as their company’s acting "chairman," Gino and Fiore turn to Spiro–a prisoner of war for over fifty years, Spiro emerges as the perfect pawn. However, when Spiro suddenly disappears, Gino finds himself on a journey that will ultimately reshape the integrity of his soul.Beautifully photographed in Cinemascope, Lamerica has garnered director Gianni Amelio (Stolen Children and Open Doors) with a record third consecutive Felix Award for Best European Film. ... Read more

Reviews (8)

A movie that shows reality
L'america is a great movie that gives a lot of emotions, especially to the albanian people for the changes that happened during that period.You had to be there to really understand what was going on.
Albania is a small country in the Balkan Peninsula with a bitter history through centuries.It has been invaded many times starting with the romans,turks,italians and germans.But all that didn't stop albanians to save their culture,traditions and the language which is the oldest of the Indo-Europian languages. Albanians are very good people,very generous and brave.
I am talking a little to much away from the movie, but as an albanian I feel the responsability to let whoever reads this review know: Albania is a small country with a great heart and time has steped on Her with no mercy.
FALEMINDERIT-in albanian means (THANK YOU) in english

"Men with lice don't sleep well."
"Lamerica" from director Gianni Amelio is a political film set in Albania. Albania has just emerged from years of communist rule, and two opportunistic Italians, Gino and Fiore come to Albania to set up a bogus shoe factory. Fiore has done this sort of thing before. Gino--the younger man--has not. In order to set up the factory, the wheels of Albanian bureaucracy need to be greased. The plan is that investors or grants will fund the so-called factory, and the two Italians will set up the bogus company, grab all the money and run. This seems like a fairly simple plan, and one that has worked well for Fiore previously.

The minute Gino and Fiore arrive in Albania, it is clear that they are in the midst of a highly unstable and volatile political situation. 100s of troops are in the ruined streets, and starving beggars hound the well-dressed, well-fed Italians. Thousands of Albanians are desperate to leave and will go to any lengths to join the crowds of refugees swarming onto every ship, train or bus heading for the border. Italian culture permeates the poverty-stricken country. Everywhere they go, the Italians trip upon elements of Italian culture in the most unlikely places. The starving Albanians are narcotized by Italian game shows, and Albanian parents will give away a child on the off chance that fame awaits in Italy. Gino seems doubtful that the plan can work, but Fiore is more confident.

Albanian law requires the selection of an Albanian as the chairman of the company. The Italians require someone as a figurehead only--someone with no relatives, and their search leads them to the squalor of a former "model labor camp." There, the Italians are introduced to a pathetic, filthy old man who is called Spiro Tozai. But Tozai is not quite what he seems.

When Tozai goes missing, Gino begins the hunt for his precious 'chairman'. Gino leaves the relative comfort and security of his hotel to search for Tozai. One by one, the layers that separate Gino from the Albanians are stripped away, and Gino finds himself as helpless and desperate as the average Albanian. Gino is not a sympathetic character at all. He has no time for the beggars who line the streets--he is simply out for himself. In contrast, Tozai--a man who has suffered years of deprivation in a labor camp, cares for his fellow men. Gino's complete degradation becomes his journey towards joining the human race.

There are only two professional actors in this film, and yet every performance was solid. Lamerica is a perfect film. I recommend it without reservations--displacedhuman

Abject poverty in Albania sets the scene for a fine story
This award winning 1994 Italian film is sometimes hard to watch. The landscape is Albania in the early 90s, a country that had been first invaded by Mussolini and then kept subjugated by totalitarian rule until the recent breakup of communism. This leaves it open for two Italian racketeers to try to set up a bogus shoe factory. Problem is they need an Albanian to be chairman. And so they find an old man who they can call "chairman" and will sign all the proper papers.

Things get a little out of hand, when the old man, played by Carmelo DiMazzarelli, runs away. The younger racketeer, Enrico Lo Verson, goes out to look for him. What follows is a deeply moving drama set against the backdrop of the abject poverty in Albania. Here, almost everyone is a refugee, attempting to cross the Adriatic in a quest for a better life in Italy, which symbolically becomes "Lamerica", symbol of hope and freedom.

At the beginning of the film the young man is brash and arrogant. He has money and nice clothes and is quite willing to become part of the scheme. The old man has been a prisoner for 50 years and doesn't realize the passing of time, still thinking he is only 20. As the story develops, we find out he is not Albanian at all, but a WW2 deserter who yearns to return to Sicily to his wife and newborn son. The young man's goal, however, is to keep him in Albania.

But things happen. The young man's car gets stolen and he soon learns how little his money means in the countryside of Albania. For example, after walking for miles, they come to a café. The shopkeeper is clear. "Sorry, no water today. Today holiday. Maybe tomorrow." There isn't any food either. Just a television screen where dozens of men sit like zombies watching Italian TV.

The journey is long, and events worsen, but the relationship between the two men grows. It's all very subtle as we watch the old man gain in strength and wisdom and the young man gradually change his character. The acting is excellent, so excellent that I forgot they were actors. There's little action but yet every line had layers of meaning.

The poverty is disturbing. How could it ever have gotten this bad? But there's determination in every Albanian to strive for a better life. They do the best they can. And it sure opened my eyes. This is an important film. I'm glad I saw it. But I was left with a lingering sadness when it was over in spite of the fact that the ending was one of hope. This isn't a film for everyone. But those who want to be moved and are not afraid of the subject, I definitely recommend this film.

Moving!
A very nice movie portraying what life was like in Albania following the fall of communism. This movie is well done and filmed entirely in Albania. The documentary style filming of the movie gives you a real upclose look at the lives of ordianry Albanian citizens struggling to make ends meet at a time of a collapsed economy. Though this film is in Italian language, all of the characters except the two leading characters are Albanian.
The characters for the most part comprise of a non-professional cast to give the viewer a look at the harsh reality of post-communist life. The movie is interesting and fascinating to watch because you get to see a little of what Albania looks like. It is important to remember that Albania was Europe's most backward communist society. For four decades this Balkan country was isolated from the rest of the world. Even now Albania is Europe's and one of the world's least known countries. This film is a treat in that it introduces a litte of what Albania was like and still is, even if it is harsh and haunting. Another highlight of the film is that in many scenes it is possible to hear the Albanian language being spoken. Though the Italian dialogue is all subtitled, the Albanian dialogue is not. But, never the less it is interesting to hear the Albanian dialogue spoken by ordinary Albanian citizens.
This film is moving and touches you at the end when you realize why this film is titled Lamerica. A ship with hundreds of people seeking a better life of opportunity in a land that is not their own. This is something that occurs throughout the globe everyday. Lamerica is a film for everybody to learn from and appreciate for what they have.

Stunning
Lamerica is a moving and highly memorable film. ... Read more

Reviews (601)

Seriously underrated horror film.
Watch this movie back-to-back with Brett Ratner's "Red Dragon" and you'll understand what separates a great director from a pedestrian one. Ridley Scott has crafted a classic horror film. A film that, despite justifiable complaints about the "easy way out" ending, leaves a surprising amount of the novel's surreal mayhem intact.

Dark cinema fans should embrace this one. It's not often you get a true horror film with a dazzling cast (Hopkins, Giancarlo Giannini are incredible, and Julianne Moore doesn't make us forget about Jodie, but makes the best out of a tough situation).

Oldman's portrayal of Mason Verger makes the film, however. Pathetically evil, obsessed with revenge -- it's impossible to take your eyes off him. The opening sequence of the movie (where Verger purchases Hannibal memorabilia) is a delightful intro. Verger's self-mutilation flashback is jarring and surreal.

The Grand Guignol gore style of the movie has been seen by some as laughable. I thought it was quite disturbing, the absurdity adding another dimension of terror to the film. Like all great horror films, as a viewer, you're not sure just how far into nightmare territory this one will go (particularly if you haven't read the book).

If only DeLaurentis had chosen a worthy successor to direct Red Dragon, the Lecter trilogy would've easily been the best horror cinema series ever.

While "Silence" is clearly the biggest crowd pleaser of the bunch, and a very sophisticated thriller, my heart is with Hannibal. It's absolutely beautiful to look at, holds up amazingly well under repeated viewings, and never shies away (until the very end) from the novel's most appalling elements.

Good horror flick. Bad Hannibal Lecter movie.
Hannibal is one of those sequels that continues from the original, but completely changes the story line. The Silence Of The Lambs was a drama about entering the mind of a serial killer with the help of a past one. Hannibal is just about tracking down a serial killer. This was definatly made to be a horror movie, not a suspense drama.

Hannibal picks up awhile after The Silence Of The Lambs. In the first film, Hannibal breaks out of prison torwards the end of the film not to kill again, but to retire and live a normal life. But now Dr. Hannibal Lecter(returning Anthony Hopkins), is about to come out of retirement to hunt again. But only Clarice Starling(Juliane Moore replacing Jodie Foster) knows enough about him to track him down and catch him.

The plot is simple, nothing near the plot of Silence Of The Lambs, the acting is not bad but definatly not at its best(Anthony Hopkins still plays his role rather well, but could have done better). The only thing I could say was rather good was the directing from Ridley Scott(Alien, Gladiator, Black Hawk Down). But other than that, fans of horror movies will probably enjoy this much much more than fans of The Silence Of The Lambs, like myself.

"Hannibal" runs for a little over 2 hours. It is rated R for very strong gore and gruesome violence(some may not even be able to handle the some of the extreme gore), some strong language, and disturbing images.

Disappointing, floundering follow up
When Thomas Harris wrote Hannibal, it was a safe bet that a film wouldn't be far along. Silence of the Lambs director Jonathan Demme and star Jodie Foster declined to take part in Hannibal claiming they found the story distasteful; so director Ridley Scott (Black Hawk Down, Gladiator, Alien) and actress Julianne Moore (replacing Foster as FBI Agent Clarice Starling) were brought into this disappointing follow up. Hannibal Lecter (Anthony Hopkins reprising his Oscar winning role), now living the life of luxury in Italy, finds himself on the run from Mason Verger (an unrecognizeable and uncredited Gary Oldman), a former patient who at Hannibal's advice peeled off part of his face. Meanwhile, Clarice finds her career on the downward spiral as she as used as bait by Verger to lure Lecter out of hiding. The suspense can't hold up to that of Silence of the Lambs (movie or book that is) and Scott's direction, even though he gives it his own slick look, is disappointing. Moore, as good an actress as she is, can't hold a candle to Jodie Foster as we find the once strong willed but vulnerable Clarice be more of a victim here than anything else. Finally, Hopkins just isn't scary anymore as Hannibal "The Cannibal" Lecter. That alone is probably the worst part of the film, and while Hannibal isn't necessarily bad, it's one of the most disappointing films to be released over the past few years. The cast also includes Francesca Neri, Frankie Faison, and Ray Liotta in the film's most infamous scene.

Great, not completely accurate, but very good.
The film is based on Thomas Harris' third installment in the "Hannibal Lecter Series" (Although, Hannibal Lecter is only a major character in one book.) The movie's ending was completely different than that of the book. WARNING: IF YOU HAVEN'T READ THE BOOK, AND WANT TO, DO NOT READ THE NEXT SENTENCE! In the book, Lecter basically brainwashes Starling and takes her as his wife and moves to South America. WARNING OVER

Hopkins' acting was not as good as it was in "Silence of the Lambs," but it's very good. Julianne Moore's performance was not as good as Jodie Foster's.

The movie excluded the character Margot, Mason Verger's lesbian sister. I think she greatly enhanced the story's progress. In the movie, anything Margot did that was pivotal to the story (basically, just pushing Verger into the pigpen) Verger's personal doctor did.

Basically, if you're just looking for an amazing movie, DON'T pick this up, if you're looking for a gory movie, pick it up. If you're looking for a good sequel to an amazing movie (Silence of the Lambs.)

Mediocre yet oddly satisfying
Let's face it: "Hannibal" is nowhere near as good as "Silence of the Lambs" (I'm talking movies, not books). To quote Charter, "Far-fetched and gory." Plus it fails to capture Lecter's true intentions toward Starling (as brotherly or fatherly, not romantic). Yet, somehow, the film is oddly satisfying, and I find myself draw to it whenever it's on. The mix of operatic score during chaotic scenes is strangely effective (similar to the ethereal tracks during intense scenes in the LOTR series of films). So, no, it's not a great movie, and Lecter's behavior is sometimes "out of character," but the movie is satisfying nonetheless. ... Read more