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When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who's sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there's reason to believe the banker's crime was justifiable. We also realize that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it's a remarkable film that signaled the arrival of a promising new filmmaker--a film that many movie lovers count among their all-time favorites. --Jeff Shannon ... Read more

Reviews (692)

Triumphant celebration of the human spirit
First off, this reviewer regularly rates this movie as his personal favourite of all time. Why only four stars then? Because we are asked to rate the DVD, not the movie, and the criminal lack of DVD extras for one of the best films ever made is shameful. So, film five stars, DVD three - averaging out at 4. Maths lesson over, on with the review.

Based on the Stephen King novella ' Rita Hayworth and the Shawshank Redemption ' this really has become a modern day classic. Other films have grossed more, and may have a more immediate following, but Shawshank will endure for years, and become another 'Casablanca ' loved by generations to come.

The film tells the story of Andy Dufresne, sent to the maximum security prison of Shawshank for the murder of his wife and her lover. Played with an under-stated intelligence by Tim Robbins in a career defining turn, and supported by sterling performances from Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, and veteran James Whitmore. Morgan Freeman's work is particularly notable, not just for his performance ( let's face it, the man doesn't know how to give a bad one! ) but also for the fact that his is the voice of the film. His chocolate-rich tones were director Frank Darabont's choice for the voice-over of the film, as if his character Red is talking to us, and explaining the sub-text of the film. Voice overs often dont work ( Blade Runner being a prime example ) but this one does, perfectly.

Beginning at a slow pace, the film begins with the brutal de-humanising regime meted out to the 'Fresh Fish' as they begin their incarcaration in Shawshank. I remember suggesting my wife watch the film after I'd seen it, and she, being of a considerably more sensitive nature than me, found the early scenes difficult. If you too find the opening 45 minutes a tad heavy going, stick with it - the reward is worth it.

Eventually as we progress through the film, we see how Red's initial suspicion of Andy becomes a deep respect, and eventually a deep friendship, indeed it would be true to say that these two men love each other like brothers by the end. There are a few key scenes that really stick in the memory - the rooftop scene, the opera aria scene, the exam result scene - all of which enable us to begin to like these men, men we probably wouldn't have wanted in our homes before the film, but who we'd happily sit down to dinner with after.

The film's true emotional impact of course comes in the final third as we learn the truth about Andy's guilt or otherwise. True to many of King's works, there is a twist in the end which leaves us all stunned, and with a big stupid grin on our faces. The total and utter defeat of the dark forces in the film is accomplished with such applomb that you find yourself rooting for the bad guys - the prisoners, a bunch of murderers and misfits that two hours earlier you were deeply suspicious of. Indeed the last section of the film plays almost totally without our hero, and remains almost my favourite portion of it. By this time we are crying out for the final fulfilment of our hopes for the characters. It is to Frank Darabont's eternal credit that he accomplishes this in a scene without dialogue, and a sweeping panoramic withdrawl from the characters, leaving us with not a dry eye in the house, and a feel-good glow that lasts for days.

... while in [a local store] I noticed this man and wife trying to decide which DVD they would buy to view that evening. I pointed to Shawshank. "Ever seen this one?"
"No"
"Trust me" I said, "It's the best movie you've never seen." He bought it, and I like to think I made that man and wife cry, laugh and smile that evening.

To conclude, Warner Bros and Castle Rock - SHAME ON YOU! This movie deserves better. The Region 2 version rocks, so get busy, re-package, and give us fans the extras this classic deserves!

One true consensus !
To be honest, sometimes it seems odd that so much people write similar things about this magnificient film, but then again, everybody ,including myself ,wish to express and convey his thoughts and emotions in his/her special unique way.

Hence, I decided to take my time to write a few words . I hope you'll like them (The immediate reason for this is that I'm currently reading the novel,four years after seeing the movie for the first time).

Andy Dufresne. The name evokes nobel feelings in me whenever I hear it.Portrayed so wonderfully by Tim Robbins,it represents so much ; A man who had had everything,lost everthing and,finally, gained everything back.

His character is one of the most inspiring I've ever known. What a man ! An example of the strength of the human spirit, and one basic rule : diligence and patience with a little bit of luck and wisdom can get you anywhere . . . Even outside the walls of Shawshank state penitentiary...

If you've seen it once - see it again ! It never loses it's impact. Watch it whenever you're down and feeling like everything is going wrong .I bet it shall lift your spirit just a little bit higher ,and help you through the crisis .

Review of a review
Whoever wrote the following review, I've got to hand it to you for almost pulling my leg. This is funny stuff, I actually thought you were serious at first. I'm sure they're many ninnies who will put their DVD copy in now and think there's something wrong. Keep it up.

Anyhoo, The Shawshank Redemption is a great piece of work. Better on DVD than in the theaters (unless you get to take that special someone to the last row . Buy it if your internet connection just happens to be down. Of course that last statement was a joke.

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My third submission on this, if you are doubtful, check for yourself. I own the VHS of Shawshank. I recently purchased a DVD player and Shawshank was one of my first disks. I set both the disk and the tape up to play simultaneously, and flipped back and forth to compare the superb quality improvement of DVD. I was in for a surprise. The picture DOES NOT get wider-AS IT SHOULD-and the top and bottom of the picture of the DVD version are ERASED and replaced by the black bars. The other movie I found with this flaw is Jackie Brown. Check out the point where Bridget Fonda "services" Robert DeNiro. On the VHS widescreen version , her "buns" disappear. They are fully visable on the fullscreen version! The top and bottom have been erased on the widescreen version and the picture does not get any wider. I suspect more movies have this flaw. Now that we know what to look for, let's look!
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Great story, wondrously told and acted
At the heart of this extraordinary movie is a brilliant and indelible performance by Morgan Freeman as Red, the man who knows how to get things, the "only" guilty man at Shawshank prison. He was nominated by the Academy for Best Actor in 1995 but didn't win. (Tom Hanks won for Forrest Gump.) What Freeman does so beautifully is to slightly underplay the part so that the eternal boredom and cynicism of the lifer comes through, and yet we can see how very much alive with the warmth of life the man is despite his confinement. Someday Morgan Freeman is going to win an Academy Award and it will be in belated recognition for this performance, which I think was a little too subtle for some Academy members to fully appreciate at the time.

But Freeman is not alone. Tim Robbins plays the hero of the story, banker Andy Dufresne, who has been falsely convicted of murdering his wife and her lover. Robbins has a unique quality as an actor in that he lends ever so slightly a bemused irony to the characters he plays. It is as though part of him is amused at what he is doing. I believe this is the best performance of his career, but it might be compared with his work in The Player (1992), another excellent movie, and in Mystic River (2003) for which he won an Oscar as Best Supporting Actor.

It is said that every good story needs a villain, and in the Bible-quoting, Bible-thumping, massively hypocritical, sadistic Warden Samuel Norton, played perfectly by Bob Gunton, we have a doozy. I want to tell you that Norton is so evil that fundamentalist Christians actually hate this movie because of how precisely his vile character is revealed. They also hate the movie because of its depiction of violent, predatory homosexual behavior (which is the reason the movie is rated R). On the wall of his office (hiding his safe with its ill-gotten contents and duplicitous accounts) is a framed plaque of the words "His judgment cometh and that right soon." The irony of these words as they apply to the men in the prison and ultimately to the warden himself is just perfect. You will take delight, I promise.

Here is some other information about the movie that may interest you. As most people know, it was adapted from a novella by Stephen King entitled "Rita Hayworth and the Shawshank Redemption." Rita Hayworth figures in the story because Red procures a poster of her for Andy that he pins up on the wall of his cell. The poster is a still from the film Gilda (1946) starring her and Glenn Ford. We see a clip from the black and white film as the prisoners watch, cheering and hollering when Rita Hayworth appears. If you haven't seen her, check out that old movie. She really is gorgeous and a forerunner of Marilyn Monroe, who next appears on Andy's wall in a still from The Seven Year Itch (1955). It's the famous shot of her in which her skirt is blown up to reveal her shapely legs. Following her on Andy's wall (and, by the way, these pinups figure prominently in the plot) is Rachel Welsh from One Million Years B.C. (1966). In a simple and effective device these pinups show us graphically how long Andy and Red have been pining away.

Frank Darabont's direction is full of similar devices that clearly and naturally tell the story. There is Brooks (James Whitmore) who gets out after fifty years but is so institutionalized that he can't cope with life on the outside and hangs himself. Playing off of this is Red's periodic appearance before the parole board where his parole is summarily REJECTED. Watch how this plays out at the end.

The cinematography by Roger Deakins is excellent. The editing superb: there's not a single dead spot in the whole movie. The difference between the good guys (Red, Andy, Brooks, etc.) and the bad guys (the warden, the guards, the "sisters," etc.) is perhaps too starkly drawn, and perhaps Andy is a bit too heroic and determined beyond what might be realistic, and perhaps the "redemption" is a bit too miraculous in how beautifully it works out. But never mind. We love it.

All in all this is a great story vividly told that will leave you with a true sense of redemption in your soul. It is not a chick flick, and that is an understatement. It is a male bonding movie about friendship and the strength of character, about going up against what is wrong and unfair and coming out on top through pure true grit and a little luck.

#2 RATED MOVIE ON THE IMDB (AND FOR A REASON !)
Great film with classic and quotable lines. The narration by Morgan Freeman is also superb. Many touching moments which is specially odd in a prsion movie.
Highly recommended. ... Read more

Amazon.com

The first happy day in the adult life of Anjuli (Amy Irving) is the day her husband's body is set on fire. Her rich and powerful husband, the Rana of Bhitor (Rossano Brazzi), is ritually immolated in a lavish ceremony where his other wife, Anjuli's half sister, is expected to commit ritual suttee. Only after she is released from her marriage is Anjuli free to follow her heart. Based on M.M. Kaye's beloved novel, The Far Pavilions tells the haunting love story of Anjuli and Ash (Ben Cross) against the spectacular backdrop of mid-19th-century colonial India, replete with accurate historical and cultural details. Full of battle, treachery, intrigue, passion, and prejudice, the film brims with stunning sights, from the peaks of the Himalayas to the famed palaces of Bhitor, remarkable battle scenes, and royal pageantry, including a lavish, several-day-long traditional Hindu wedding where the groom enters on an elephant. The all-star cast, including Omar Sharif, Sir John Gielgud, and Rupert Everett, truly brings the novel to life.

This two-DVD set includes interactive menus, a scene index, production notes, and a Kaye biography and book list. Originally released for television in 1984, The Far Pavilions has inspired viewers to travel to India, plus it has been included in numerous university courses because of its postcolonial and multicultural themes. This film will appeal to viewers interested in postcolonialism or Indian history and culture as well as anyone who loves a good romance. --Tara Chace ... Read more

Reviews (18)

Visual feast, but no depth to plot or to characters
If you are looking for a movie with sumptuous landscapes and costumes, exotic locales and characters, and a highly romanticized story, this fits perfectly. If you are looking for a movie with real meat to the story, this does not do so well. Both Ben Cross and Amy Irving who play the protagonists do not appear to advantage in this film. [For a better performance from Cross, try CHARIOTS OF FIRE, for that from Irving, try CROSSING DELANCEY].

This kind of movie also paints a distorted view of British India in this time period, romanticized but bearing as much resemblance either to 19th century India or modern India (and South Asia) as would ALADDIN (Disney version) to the Middle East ca 800 or today. Part of the problem is that the film has cut so much of the beginning of the novel (actually, pretty much the first third ) away. That leaves the viewer in limbo when Ashton Pelham-Martyn appears as a British officer with an Indian background. What kind of background? That is much better described (and far more believable) in the novel than in the film.

Of course, it is hard to compare novels and film adaptations. On the other hand, we do want the story within a film to make sense. Given the complexities of the plot, what is left out gives us little understanding of why Anjuli's position is so bad, or for that matter, why Ashton's "Indian" background leaves him highly suspect among his fellow officers. [Not to mention the fact that an important little sub-plot is almost totally excised].

If you have read the novel before watching the film, the story will make more sense. On the other hand, if you are just looking for eye candy, this film version is fine as it stands.

For the record, if you want to read about 19th century Raj customs and stuff, read Kipling's KIM or anything else by him or watch THE MAN WHO WOULD BE KING. Paul Scott's THE JEWEL IN THE CROWN (TV series and book) and E.M Foster's A PASSAGE TO INDIA (film by David Lean and book) offer a much-better more nuanced and better-researched look at the last decades of the Raj (1920s to 1940s). For stories set before 1857, I am not really sure there is anything that has been well-translated to the film medium.

A TALE OF ROMANCE AND DERRING DO IN COLONIAL INDIA...
Based upon M. M. Kayes best selling novel of the same name, this film is well acted and absorbing. It is a story set during the time of the British Raj in India. The two characters central to the film are Ash (Ben Cross), an Englishman who spent the formative years of his life believing that he was Indian, and Anjuli (Amy Irving), a half caste Indian princess. Ash and Anjuli spent a portion of their childhood growing up together, until palace intrigues forced Ash and his Indian foster mother to flee. As a prepubescent youth, he is informed of his English heritage and sent to England for his education and Anglicization.

Returning to India many years later as a young man, Ash becomes a part of a British regiment called the Guides. He has some difficulties adjusting, as he is not an Englishman comfortable in his own skin, as he also feels that is Indian in many ways, a view that brings him into conflict with the way the native Indian population is viewed by the British. Meanwhile, Anjuli has continued living as a half caste Indian princess. She and Ash have not seen each other since he and his foster Indian mother fled, and she has no idea that Ash is not Indian, but British.

The film is an amazing cornucopia of adventure, derring do, and romance. It provides a tantalizing glimpse into colonial India. All of this, however, merely serves to propel the story towards the uniting of Ash and Anjuli, as the film is, first and foremost, a love story set against the romantic and lush backdrop of colonial India. When the paths of these star crossed lovers intersect, it is under a most unusual set of circumstances. It is a story that will keep the viewer riveted to the screen. I, myself, was unable to tear myself away from the screen and was riveted for the full five hours that it took for this mesmerizing tale of adventure, love, and treachery to unfold.

With a star studded cast that includes the likes of Omar Shariff, Christopher Lee, Sir John Gielgud, and Rossano Brazzi, this is a film what will capture the viewer's imagination. I read and loved the novel upon which this film was based, and while it is not a faithful adaptation of that wonderful book, the film stands on its own considerable merits. It is meant to entertain and that it most certainly does.

This two disc DVD is somewhat limited in what it offers, however, in terms of features, which is limited to a scene index, some production notes, and a brief biography of M.M. Kaye. In terms of its quality, while the sound is good, the visuals are somewhat grainy at times and washed out looking. It is too bad that they decided to do the transfer from video to DVD on the cheap. In doing so, they did "The Far Pavillions" a disservice. Still, it is a DVD well worth having in one's collection, as the story is such a gripping tale.

great movie, terrible DVD
i was so looking forward to the DVD verison of this film. i had taped the entire 6 hours when it was on HBO so many years ago. i missed the narrater intoducing the next parts, and the picture quality, which i expected to be outstanding didn't happen. they took a print and ran it to a DVD, no fixing, no nothing. when i want to watch this one, i put in the old VCR tape, it's better and clearer than the DVD. hard to believe! the people that put this one together didn't give a "flip" about the movie.to bad...

Amazing! Brings Colonial India To Life.
As a great fan of the book, I was slightly apprehensieve about seeing the TV series. However, I really feel it does the book justice and brings the characters and India to life with its fantastic scenery and sumptuous costumes. Amy Irving is perfect as Anjuli and although unsure at first of Ben Cross's performance, I soon warmed to him as Ash. The picture on the DVD was really good, as was the sound. A must see DVD for anyone who is interested in the history of India.

Great Miniseries - Ben Cross is awsome!
For criticism purposes, it has to be understood WHEN the novel was written, and also the fact that this movie is based ON A NOVEL, it does not intent to be a documentary, but a recreation of British ruled India from the eyes of a British writer.

I disagree with some of the criticisms posted here, as you cannot analyze a book written in a different time (or a movie based on one) as if you were talking about a contemporary of yours.

I ENJOY the movie VERY MUCH, every time I watch it again (The 4 videos collection)... I would highly recommended it. I LOVE how Ben Cross plays his character, and Amy Irving, too. It is MOST enjoyable.

ENJOY! ... Read more

Description

In New York City, the Hasidim are a common sight, but their way of life remains a mystery to those outside their community. With their use of Yiddish, their distinctive clothes and their strict observance of Jewish ritual and law, the Hasidim are considered by many an insular people with little connection to mainstream America. And yet their values are those that many Americans find most precious: family, community, and a life of meaning.In this extraordinarily intimate film, seven years in the making, we are taken into the depths of the Hasidim's joyous, sometimes harsh, and often-beautiful world. From mystical tales to mesmerizing music, Rebbes to Holocaust survivors, A Life Apart reveals a strange, insular world few outsiders have seen, and fewer yet could imagine. ... Read more

Reviews (12)

Vivid portrait of a living people...
Even after several viewings, this video is still compelling and colourful. Nimoy and Parker lovingly narrate, describing accurately the joy and depth of life in these religious communities.

I found that a few of the interviewees came across as caricatures: the lazy yeshiva student (all grown up but unwilling to take on the responsibilities of real life), the dissatisfied feminist poet (Pearl Gluck, who was raised in a Chassidic family and decided to leave). So, please... if you watch this movie (and I do recommend it!), be aware that these caricatures are not representative. Most members of these communities are hard-working and devout; the "dropout rate" is astonishingly low. But that's a little less interesting on film, so you've got to take what you can get.

This documentary would be valuable for anyone interested in Judaism, or religious life in America, but it's especially helpful for non-religious Jews who have always been curious (or suspicious, or even hostile) about this closed little world.

Vivid portrait of a living people...
Even after several viewings, this video is still compelling and colourful. Nimoy and Parker lovingly narrate, describing accurately the joy and depth of life in these religious communities.

I found that a few of the interviewees came across as caricatures: the lazy yeshiva student (all grown up but unwilling to take on the responsibilities of real life), the dissatisfied feminist poet (Pearl Gluck, who was raised in a Chassidic family and decided to leave). So, please... if you watch this movie (and I do recommend it!), be aware that these caricatures are not representative. Most members of these communities are hard-working and devout; the "dropout rate" is astonishingly low. But that's a little less interesting on film, so you've got to take what you can get.

This documentary would be valuable for anyone interested in Judaism, or religious life in America, but it's especially helpful for non-religious Jews who have always been curious (or suspicious, or even hostile) about this closed little world.

Excellent documentary
This is an excellent documentary. It is narrated by Sarah Jessica Parker and Leonard Nimoy. There is a great deal of footage of several Hasidic groups in Brooklyn, many interesting interviews (of course), and some footage filmed in Eastern Europe. Although the point of view of the film is from the outside looking in, there is a definite affection for the subject matter on the part of the filmmakers. The film includes some dissenting voices as balance (a neighborhood person who finds the hasidim rude, a former hasidic woman who has left the community to become a professional academic). The tape also includes a PBS interview with the two filmmakers. Highly recommended as cultural documentary and as a film about the Hasidim.

A MUST SEE
I was given this Video to look at by a friend who had converted to Judaism. Since much of it was filmed where I live and I know personally some of the people in it, I have a different perspective. I have suggested to a number of people to see this in order to see what real chassidim are like. It is the closest you will ever get to it unless you actually live in the community. It is NOT perfect, and there are a few things that I would like to point out.

1. Most of what the scholars say is funny, and not to be taken seriously. They seem to show an uncanny ability of not understanding.
2. Some of the critiques of chassidim show a non-Jewish perspective. (The feminist views were funny. I find it hard to believe that a man who has to rise early and go to work in the cesspool of Manhattan is exposed to more spirituality, then a women who stays home in a pure enviornment raising pure holy children. It seems women get more spiritual benefit from that lifestyle then the men.)
3. I never got an understanding of why Pearl Gluck left the community. In general they did not point out that people leaving is very rare, and women leaving is even rarer.
4. Some of the Yiddish translations are not so correct.

However, the positives far outweigh the negatives. And in any case, there really is nothing out there that gets as close to the truth as this does.

In Search of...Jews
With Manis Friedman and Shmuely Boteach popularizing the philosophy and beliefs of Orthodox Judaism, particulary the Chasidic branch of Lubavitch from which they both began (although Rabbi Boteach parted ways with Chabad over a decade ago) the world of the Hasidim is larger than ever before. Of course, the Lubavitch branch of Hasidim is merely the most popular and "evangelistic" (using that term loosely since they only reach out to Jews and they are much less eager to tell non-observant Jews what's good about them than what's wrong.) but there are several branches and most are based in NYC. Many filmmakers have recently used the Hasidic lifestyle in their movies - Price above Rubies, Kadosh, Stranger Among Us, The Chosen - and interest continues.

Unfortunately this video is merely window dressing. There are some good stories, some vignettes, plenty of shots of the neighborhoods (which are hard to get if the director of THe Believer is right) but a lot of it is reinforcement of the romanticized image vs. the distaste that non-observant Jews have with Chasidic Jews. It shows the female "rabbi" complaining that the Chasidic Jews didn't want her talking to their son because she was dressed immodestly. It has the formerly Chasidic woman talking about her life outside the community and her continued affection for it. It shows the professors painting the communities with broad strokes (don't go to college, only gets married, doesn't take jobs that require advanced degrees, stay poor, etc.) ignoring the exceptions like the Lubavitchers going to college or the diamond businesses. Most of it rings true. Some rings rather false - especially the non-Chasidim passing judgment on the Chasidic - as with the Macalaster professor smugly stating that if men are distracted by women's voices why would G-d want to use them (the flip side of that argument is why would G-d create men that are so uptight that they can't feel a stirring at a woman's singing voice)

The narration is amusing just because Leonard Nimoy is in full "In Search of..." voice as if he's talking about some strange tribe that eats bugs while piercing their noses and not his own relatives. Sarah Jessica Parker's narration is so entwined with Sex and The City that you expect her to say "Do Frum Jews have sex? Do they enjoy it?"

It's a nice video. A good introduction to the world of Chasidim. There's nothing too deep about it. YOu aren't going to hear about the Yeshiva drug scenes or the ways in which Chasidic Jews embrace and pull away from the communities. They don't even mention WHY the Gaon of Vilna excommunicated the Chasidic movement which has a lot more to do with Shabbtei Zvi's lunacy of a generation before and a lot less to do with any dogma on his part. Nor is the movie going to even mention that the Modern Orthodox students playing hockey are just as frum as the Bobov Rabbi that's teaching them - just in different ways.

The movie ends with the wedding of the great granddaughter of the Bobov Rebbe and the subtitles read that he was the last rebbe to bring his community over from teh Holocaust. The sheer number of people celebrating that wedding is astounding but that's the main point of the movie - Chasidic Jews are nuts but they keep Judaism alive. Like Sholem Aleichem it seeks to romanticize a people that it doesn't want to join, rather than the works of I.B. Singer which engages them like real flesh-and-blood people. However, it does an excellent job of presenting a general overview - even if it's superficial. ... Read more

Reviews (41)

Sirens Can Come Calling to Anyone
I viewed this movie the first time in the theatre and loved it completely. Any woman, or man for that matter, who grew up in a sort of repressed world can understand the obvious fasination that this couple might experience when they come to Australia and become guests of this notorious artist and his family.

From the first momentous scene, when the couple encounters the Rasputinesque man with the missing limb, the film hints at the terrifying prospects of life beneath the lush beauty of earth's surroundings. Beware, behind all beauty lies death---but ah! the pleasure in living!!!!The elegant subtlety of Sirens lies within its ability to unmask and shyly peek at the longing we have of freely given love and the fasination of discovering the beauty of our genders. Even as the threat of death and decay peers through the trees, we crave the acknowledgement of our sensual needs and fears; we, sometimes cautiously, bend to the impossible curiousity that nags us in viewing our sexual opposites, and yes, in acknowledging our own sex.

My only critism of the VHS/DVD, is that one misses the humor and in large the major comment of what the movie seeks to share. The newspaper articles originally shown on the large screen, are unreadable on the small screen. The VHS/DVD viewers suffer from this loss because the impact of the film in the juxtaposition of these humorous and tragic observations shown through the medium of local news. They whisper to us of the uncertainty of ife, the quickness of death, the need to seize upon the gift of love and life.

The visual impact of the film is sensual and lovely; the actors are equally so. For once, Hugh Grant's bumbling bumbles aren't so irritating and the elegant Tara Fitzgerald lures you gently into her search of discovery for the sacred place where love and lust can happily survive. The cast is outstanding.

If they release a better version of the DVD in the future, I hope that the viewing of the headlines can be remedied. It makes all the difference in the perception of the film.

A little deeper into Sirens > a different interpretation
Spoiler alert: You might not want to read the following if you haven't seen the movie yet.

Most of the reviews of Sirens at Amazon focus on Elle, the nudity in the movie, and themes surrounding the Church's stance against freedom of expression. A few reviewers have touched intelligently on some of the biblical, Atlantean, and Homeric symbolism that suffuses the movie.

Only one reviewer, who happened not to like the film, touched on what I consider to be one of the most telling elements of the story: that Tara Fitzgerald's character Estella cheats on her husband, Hugh Grant. The reviewer thinks this is a problem, and it is, because Estella is a clergyman's wife. This should require some explaining, as Estella changes a great deal in a short amount of time during the film.

The cover of the movie shows Hugh Grant and Elle McPherson in poses suggesting a light-hearted romantic comedy. The movie is actually completely about Tara Fitzgerald's character's journey. What are the clues? The movie starts with Estella both flirting with and rebuffing a sailor on an ocean liner. Hugh Grant is not in the scene at all.

The movie follows Estella much more closely than any of the other characters and at key moments we even see hallucinations as Estella sees them: when she imagines herself naked in church and most importantly, when she "dreams" that the sirens are baptizing her (with water that turns to blood, no less, at which point she "wants to wake up") toward the end of the movie. The offensive painting for which Estella and her husband travel to Sam Neill's house shows a woman crucified in Christ's place, signalling that the female lead, not the male, is the protagonist.

But is the movie about Estella's sexual awakening? Not really.

It is not until after she awakens from the dream described above that the viewer learns the ship on which Estella sailed was the Titanic (look above her head when she and Hugh Grant are on the train leaving Australia--it is the same ship shown throughout the film). What could this mean? Estella is drowning in the wreck of the Titanic. As she is dying she experiences the events in the movie, a mix of Ulysses' sailors drawn to their watery graves by the beautiful sirens, a magical trip to the island of Atlantis (Australia), and religious rumblings of the moral tension between fidelity and self-expression. The "mission" to convince Sam Neill not to exhibit his blasphemous painting represents Estella's fight to stay alive. When she and her husband accept that they will not change Sam Neill's resolve (including the fact that he has painted Estella), Estella is giving up her grip on life. Look at the expression of relief and release on her face in the movie's very last scene before fading to the sirens on the rocks.

With a seemingly slapped on ending in which Estella and husband leave some of their sexual repression behind them, voila: you have a movie that viewers enjoy but is quite a bit deeper, as well.

Check it out, it's beautiful and brilliant!

Sirens
I am not overly fond of arty movies like Sirens so I admit a bit of bias that probably colors my reaction to it. The real theme of the movie, unless I completely missed the point, is the spiritual damage, if not emotional damage, that sexual repression exerts on the individual (and society, if one takes the logic a step further).

Set in the 1930's, a catholic priest is sent to compel a famous artist from displaying an erotic painting that mixes religious with erotic themes that the church finds offensive. This repressed priest and his wife find themselves in the midst of an almost bacchanalian atmosphere, as the artist's models cavort around in a carefree, playful, sexually liberated manner. The real focus the movie really becomes the priest's wife, who starts to find herself drawn into experiences around her and frees herself of her own repressions.

The drawback to the movie is it's just not that entertaining and has no real plot. I enjoyed the imagery and the acting was top notch. But on the whole, I found it somewhat boring.

a work of art
Although I'd love to bore the readers with my thoughtful analysis of this incredible film, I will restrain myself, because the previous reviews (especially those concerning mythologies) are quite thorough and nicely stated.

What I *would* like to point out are the easter eggs throughout the film. Any art buff will have a wonderful experience as classic works of art are recreated "live" during the movie. The movie is worth watching just to see how many you can catch.

But the deeper plot of the movie is art in itself. I highly recommend.

Never Tire of Watching
"Sirens" was about a woman, a preacher's wife, who appears to be intimidated by the sexual frankness of an artist and the models. But she is sexually sealed in the presence of her husband and the people she is staying with. The artist is proud of his work despite what others think.
Tara Fitzgerald is splendid in her performance as a timid preacher's wife. She immerses herself in the roles that she has portrayed relating to what the individual is feeling. The expression shows. She stood out mostly in the movie. ... Read more

Reviews (90)

The Incredible Special Effects Must Be Seen To Be Believed!
"The Howling", released in 1980 is, in my opinion, one of the best werewolf movies ever made. I first saw the movie in the theater and it literally made my skin crawl. The werewolf transformation is the best I've ever seen (An American Werewolf In London was good but not like this) in any werewolf movie. Basically, the movie is about a young television anchor woman named Karen White (played by Dee Wallace Stone) who receives phone calls from a killer named Eddie (played by Robert Picardo). She agrees to meet him in a porno shop where he begins his transformation to werewolf while White watches a porno film. Eddie is shot by police in the porno movie room and White escapes unharmed. Having gone thru quite a tramatic experience she and her husband (played by Christopher Stone) go to The Colony, which is a retreat recommended by a psychiatrist (played by Patrick MacNee) for patient's of his to recuperate. It's at the retreat that White begins to notice the people are a bit strange and begins hearing strange howling sounds at night. White's husband becomes the victim of a werewolf bite and goes thru a transformation himself during a hot and steamy scene in the woods with a female patient (played by Elizabeth Brooks) who herself is a werewolf. The movie's most horrifying scene is Eddie's (whom somehow makes it to the retreat after being shot in the head and escapes the police morgue) transformation to werewolf with a number of jaw dropping special effects that is enough to scare just about anyone. Since I've already told a good portion of the story I'll stop here. This "Special Edition" of "The Howling" is worth every cent because of all the extras you get. You have "Unleashing The Beast: Making Of The Howling" a multi-part documentary, Deleted Scenes, Outakes, "Making A Monster Movie: Inside The Howling Documentary", "Audio Commentary With Director Joe Dante, Dee Wallace, Christopher Stone and Robert Picardo", Photo Gallery, and the Original Theatrical Trailers. Not only is the picture quality superb but this "Special Edition" of "The Howling" is newly digitally enhanced in 5.1 surround audio. If you enjoy watching horror movies than this is one that you don't want to miss. Highly Recommended!

Classic werewolf movie now in an expanded DVD package!
When "The Howling" appeared in theaters in 1981, it heralded a mini-revival of the werewolf movie that took advantage of advances in special effects; two films followed later that year: "Wolfen" and John Landis's beloved "An American Werewolf in London." Although "The Howling" doesn't quite match the artistry and continual popularity of Landis's film, it nonetheless has aged wonderfully and is still one of the most enjoyable horror films of its decade. It's scary without getting too gory for the average viewer, has superb special effects that don't overwhelm the story, features a fun cast of familiar faces, and has a quirky sense of humor and loads of movie in-jokes for horror movie fans.

MGM first released "The Howling" in a no-frills DVD that let the movie down: no extras, a cheap and scratchy transfer, and a very dull mono soundtrack. Thankfully, they realized the popularity of the film and are now giving us a nice edition with revamped sound (5.1 Surround), a sharp picture, and a big bowl full o' extras.

John Sayles's script (co-written with Terence H. Winkless) unapologetically drops the classic werewolf legend into the modern-day -- in this case, the world of television news and the fad of self-help psychology. News anchor Karen White (Dee Wallace-Stone), while on a special assignment to lure out a serial killer (Robert Picardo from "Star Trek: Voyager") in the city, is attacked by something bestial. On the advice of psychiatrist Dr. Waggner (Patrick Macnee), Karen and her husband (Christopher Stone) head to Waggner's clinical retreat in the woods. However, there's something very disturbing about the other patients in the colony, and those weird wolf howls at night won't stop...

The werewolf transformations supervised by Rob Bottin still have an amazing effect on viewers. Using air bladders, make-up, rubber, and pneumatics, Bottin was able to create a real-time transformation of a human into a nine-foot two-legged wolf. We see limbs snap, snouts grow, claws sprout, the whole deal, and it's damned incredible. (Amazingly, only six months later Rick Baker would do this movie one better with the transformation in "An American Werewolf in London.")

The cast goes a long way to making the film work away from the effects. Dee Wallace provides the serious angle to the film, and is convincingly fragile. The rest of the actors add a wonderful loose humor: Slim Pickens, John Carradine, Belinda Balaski, and director Joe Dante's favorite actor, Dick Miller. The beautiful Elisabeth Brooks steals every scene she's in as a femme fatale who burns with sensuality, mystery, and one weird leather fetishist outfit. Director Joe Dante, who would go on to direct such wacky films as "Gremlins" and "Looney Tunes: Back in Action," puts his nutty sense of humor all over the film and packs it with in-jokes. The names of many of the characters are directors of werewolf movies, werewolf films and cartoons pop up on the televisions, and "wolf" items are scattered all over the place (Wolf Chili, a book by Thomas Wolfe, a reference to Wolfman Jack, a copy of the book "Howl"...and so on).

The extras, most of which are on the flip side of the disc, are excellent. There's a feature-length commentary by Joe Dante, Dee Wallace, Christopher Stone, and Robert Picardo. Dante has plenty to say and is a very lively commentator, and this is a generally enjoyable audio track. "Unleashing the Beast," a fifty-minute documentary (divided into separate parts, but you can play them all together) goes into great depth on the making of the film. It includes new interviews with Joe Dante, producer Mike Finnel, cinematographer John Hora, writer John Sayles, and actors Dee Wallace-Stone, Robert Picardo, Dick Miller, and Belinda Balaski. Conspicuously missing is effects wizard Rob Bottin, but you can see him on "Making a Monster Movie," an eight-minute featurette that was made in 1981. It also contains vintage interviews with Joe Dante and Patrick Macnee. The extras also include two trailers, production photos, and deleted scenes and outtakes (some of which are very funny). But the really major extras for most people will be the new picture quality and the remixed 5.1 sound. If you're a purist, you can still listen to the original mono mix -- it's here too.

"The Howling" makes most early 80s horror films, with brute slashers cutting down dumb teenagers at summer camps and slumber parties, look pretty awful. This is fun, funny, scary, smart -- and the effects will still make your jaw drop or maybe your fangs grow.

Looking for a good Werewolf movie? Look somewhere else
I am a big fan of eighties horror, I can't say the same of Werewolf movies though, since I have only seen a handful. I picked up "The Howling" after all the hype it got as a cult classic, the same kind of hype the terrific "Evil Dead" got. After watching the movie, I have to say, "Evil Dead" was much better. In fact, "Evil Dead" is on a whole different level. The plot of "The Howling" is hilariously bad (though some movies with bad plots are good i.e. "Evil Dead" and "Night of the Living Dead") and the plot is really the major weak point, along with a terribly under-developed script. The special effects, while good (from effects master Rob Bottin) are few and far between. The few seconds of cartoon animation only added to the hilarity of the sex/transformation scene. The only reason I would ever recomend anyone to see this movie is so they could see the awsome transformation scene in the hospital.

I would recomend you see teh 1981 movie "An American Werewolf in London" or the 1940 movie "Wolfman" (starring Lon Chaney Jr.) They are much better than this, which has only become a cult classic because the director, Joe Dante, and the star, B-movie heroine Dee Wallace-Stone.

THE HOWLING
Rated R: Strong Sexual Content/Nudity, Violence, Language

This is a Cult Classic Werewolf Movie.
TV Newscaster Karen White (Dee Wallace) is nearly murder by a Serial Killer (Robert Picardo) and she becomes traumatized by her near-fatal encounter. When a Psychiatrist (Patrick Macnee) advised to be One of his Patients at a Secluded Retreat called "The Colony". Karen decides to go to "the colony" with her husband (Christopher Stone) but once, they arrived at the place. Things don't go well for the Couple as Planned for the themselves. Karen makes a terrifying discovery, the people that Karen meets at "the colony" are not as they seem to be.

Directed by Joe Dante (Gremlins 1 & 2, Piranha, Small Soldiers) made a genuine, scary horror film with a sense of humour. This low budget film was shot in 28 days with a budget of $1.1 Million! This was One of the Critically Successful Horror Films of 1981. Although "The Howling" is One of the Three Werewolves Movies of 1981. The Others are:Oscar Winning-An American Werewolf in London and Underrated-Wolfen. The film has amazing Transformation Make-Up Effects Scenes by Oscar-Winner:Rob Rottin (Fight Club, Legend, Total Recall). Six-Time Oscar Winner:Rick Baker (Men in Black, The Nutty Professor, Harry and the Hendersons) was the Make-Up Effects Consultant, while Baker was Working on An American Werewolf in London.

DVD has an good anamorphic Widescreen (1.85:1) transfer (Also in Pan & Scan) and an strong-Dolby Digital 5.1 Surround Sound (Also in the Original Mono Sound). DVD has an fun and entertaining commentary track by the Director & Actors:Wallace, Stone & Picardo. Which the Commentary was Recorded for the 1996 Special Edition Laserdisc. DVD Features are Good:A Five Part Featurettes, Over 9 Minutes worth of Deleted Scenes, Outtakes and more. Actor turned Comedy Hollywood Director:Dennis Dugan (Big Daddy, Happy Gilmore, Saving Silverman) has a Supporting Role here. Now with this new DVD Transfer, we could enjoy the Amazing Special Effects for the Werewolves Transformations Scenes. Which Previous Video were always Dark and Gray. Dante's Regulars:Belinda Balaski, Kevin McCarthy, Kenneth Tobey and Especially-Dick Miller are also in this film. Watch for a Uncredited Cameo for B-Movie King Producer/Director:Roger Corman. Also the Creator of Monsters Magazines:Forrest J. Ackerman also appears in a Cameo and Co-Screenwriter:John Sayles appears in a funny cameo as a Morgue Attendent. A Cult Favorite for Years to Come. Good Scary Music Score by Pino Donaggio (Carrie, Dressed to Kill, Trauma). Screenplay by Sayles (Alligator, Limbo, Lone Star) and Terence H. Winkless (The Nest). Grade:A-.

ah, the howling movies...
this is a review for all of the howlings, which i believe are all *excellent* films. bad acting, goofy effects or lack thereof? how could they be so great?
i don't think many people can appreciate a bad horror film and fail to see the joy in viewing one. if you take any of the howlings as serious horror films, of course they're not going to be the best movies you've seen. (so the first one was a pretty decent werewolf movie but don't tell me that was superb acting and a little ridiculous- i was subjected to violent pornography so we can't make love. what?!) so if you're not already a fan of bad horror movies, i first suggest that you prepare yourself to view at best, a horror-comedy. anticipate the one-liners and nonsensical scenarios and the werewolf effects that amount to lots and lots of rubber and a guy in what looks like a bigfoot costume. embrace these elements and laugh. laugh heartily. the good thing about these movies is that the plot is never too asinine or to boring to lose interest, in fact they can be quite creative: a group of people stuck in a huge house thing to only find out there's a werewolf amongst them, marsupial werewolves! what more could you possible want? and let's not forget about unecessary sex (howling2) the main ingredient in the formula for a bad -i mean good- movie. in times when presented with movies of this ilk, i say turn a bad situation into a light one. buy all of the howlings and poke fun at them, then move on to the amityville sequels (especially no.4). ^_~ ... Read more

Reviews (46)

ON THE TOWN is On The Money!!
I saw a clip of ON THE TOWN on THAT'S ENTERTAINMENT (MGM's tribute film of its muscials circa 1970's) and never saw the actual movie until it came out on video back in the 80's. A musical probably overshadowed by SINGIN' IN THE RAIN, HIGH SOCIETY or AN AMERICAN IN PARIS, but this MGM Musical is just as good. The basic premise of 3 sailors on 24 hour shore leave in New York City and finding romance makes for great fun. It's as simple as that!! Boasting actual location shots in New York City, great songs, dance numbers, and of course...Gene Kelly and pre Eva Gardner and Rat-Pack Frank Sinatra, this is a must see musical from MGM's hey-day. Great supporting cast by Betty Garrett(who went on to TV sitcoms ALL IN THE FAMILY and LAVERN & SHIRLEY),Ann Miller, Jules Munshin, and the very forgotten, beautiful and talented Vera Ellen. The song New York, New York - - Its a Wonderful Town! used in the opening sequence in the New York City Location shots should have won an OSCAR. They just don't make 'em like this anymore!!

Not the Broadway version, but still a great movie musical
Three sailor friends take a zany, madcap tour of New York City in the Leonard Bernstein, Betty Comden, and Adolph Green musical ON THE TOWN -- refashioned here as an MGM vehicle for Gene Kelly, Frank Sinatra, and Jules Munshin as the sailors and Vera-Ellen, Betty Garrett, and Ann Miller as their girlfriends-for-a-day. Although I think that the original stage score, composed wholly by Bernstein, is superior, the movie does have several fine "new numbers," including "Prehistoric Man" (in which Miller, in a stunning tap dance routine, proves herself to be no cold scientist but a hot-blooded woman) and "You're Awful" (a golden vocal moment for Sinatra) -- as well as Bernstein's "I Feel Like I'm Not Out of Bed Yet," "New York, New York (A Wonderful Town)," "Come Up to My Place," and the ballet "A Day in New York." Usually thought of as one of Kelly's "big three" MGM films (along with AN AMERICAN IN PARIS and SINGIN' IN THE RAIN), ON THE TOWN in fact has no real "star"; the roles are all about equal in size. Kelly, so often cast in "tough" roles, is here touching in his pursuit of the lovely and talented "Miss Turnstiles" (Vera-Ellen). Sinatra is charmingly boyish and Munshin adorably hilarious, while their "girlfriends" -- Garrett the comedienne and Miller the dancer -- are well contrasted. "A Day in New York" is a highlight and prefigures both "Broadway Melody" in SINGIN' IN THE RAIN and "An American in Paris" -- two other "dream ballets" in which Kelly's character is the sad and dejected lover. This movie may not be Broadway's ON THE TOWN, but it is a colorful MGM musical with a first-rate cast.

Not the best, by a long shot
Although Kelly, Donen, and Comden/Green would go on to movie greatness together ("Singing in the Rain", 1952) this one comes up short. The problem is simple: MGM didn't respect the original material enough (the Bernstein/Comden/Green Broadway musical of the same name)-- most of the fine Bernstein songs were jettisoned in favor of distinctly second-rate stuff ("Main Street", "You're Awful", etc.), as well as dumping all the great dance numbers save two ("A Day in New York", "Miss Turnstiles"). The other problem is that after Gabey, Ivy, and their friends finally get together atop the Empire State Building, the movie really goes downhill; the whole denouement at Coney Island is silly and takes much too long. There are some good performances, esp. from the women (Betty Garrett and Ann Miller really give the movie oomph and a sense of fun, and Alice Pearce's "I got the gargle!" bit is classic). Sinatra and Kelly are fine as always, but you have to be a big Jules Munshin fan to weather his supershticky performances, both here and in "Take me Out to the Ball Game" (also with Sinatra, Kelly, and Garrett).

I know this movie is a big fan favorite; I just hope that people who think On the Town is a fine musical take the time to check out the really superior products of MGM's famous Freed unit: "Singing in the Rain", "Gigi", "Meet me in St. Louis". When the Freed unit clicked on all cylinders, as they did in those three movies, nobody made better movies of ANY kind.

It's the Best
On The Town is the best movie I've seen in my whole lifetime. I find it enjoyable for the family and musical lovers. You can watch it over and over again. It's funny and the best songs ever (I can't get them out of my head!). It was a wonderful production.

Wow! What a movie!
I actually haven't seen the whole thing, but I couldn't stop myself from writing a review! I've looked for it everywhere, but I can't find it! From what I saw of it, I know it is a wonderful movie. The "New York, New York" sequence at the start really gets you into it! I loved it, it's definitely one of a kind. I reccomened to everyone who likes Gene Kelly and Frank Sinatra, who are both great in this movie. Of course it's hard to forget Vera Ellen, who is very talented and beautiful in this movie. I wish someday to see the rest of it, and I am going to keep looking for it everywhere. Watch it now! ... Read more

Description

Two lovers stationed at a remote base in the asteroid fields of Saturn are intruded upon by a retentive technocrat from Earth and a malevolent 8-ft robot. A film full of deep space terror and twisted love, in a man-made Garden of Eden. Kirk Douglas, Farrah Fawcett, Harvey Keitel ... Read more

Reviews (15)

Adam and Evil
John Barry and Stanley Donen's misunderstood sci-fi brainchild was panned on initial release, but happily is coming under re-evaluation in a later age.

Kirk Douglas and Farrah Fawcett run a hydroponics lab on Saturn's third moon, Titan, which helps feed an overcrowded and progressively more sociopathic Earth. Douglas and Fawcett are "paired," though not actually married (or at least it is never understood that they are), she being an innocent naif who has never seen Earth and lived virtually her entire life with him, and he a disillusioned older man who never desires to see Earth again - though he encourages her to visit their home planet one day, if for no other reason than to further Fawcett's natural development.

Earth has decided that Douglas will soon be "obsolete," and sends captain Harvey Keitel to assemble a robot to eventually run Saturn 3. Keitel, however, is actually an impostor - he was washed out of the robot programming division because he was "potentially unstable," and, proving the point, murdered the man given the assignment in order to take his place. The reason is never stated, but the implication is strongly present - given his immediate fascination with Fawcett - that he wanted the assignment in order to be closer to her.

The robot - "Adam" - has a human brain, directly programmed by Keitel. Since Keitel is a homicidal psychopath...well, you get the picture. It isn't long before Saturn 3 becomes a battleground for supremacy with a mad metal titan.

This is really a great movie, if flawed. The ending is too abrupt. Douglas sometimes seems uncomfortable in his role, or acts as if he is in a different movie than Keitel and Fawcett. The special effects are uneven, though generally pretty impressive.

But the script is solid and the suspense never lets up. The action is pretty gripping, shooting out of a gun from the first scene, when Keitel coldly murders the astronaut whose place he is taking by flushing him out into space. The production is gorgeous, and unified. The sets are beautiful, and incredibly colorful. The matte shots for space and Saturn hearken back to 1950's pulp magazine covers. The costuming is futuristic, but functional. And the robot, Adam, is a nightmare out of Leonardo da Vinci's sketchbooks of human anatomy. The terrific music score, by Elmer Bernstein, is mechanistically haunting.

A great movie it isn't, but it is very good. There is a nice undercurrent of human feeling to this film, which is emphasized by the contrast of the warm and loving relationship between Douglas and Fawcett with the predatory intrusion of the coldly sociopathic Keitel.

This is wonderful sci-fi pulp, and if that's what you're in the mood for, you won't be disappointed.

I expected more
To say the least, I was expecting far more from this film than what I got. For one thing, the actual concept is interesting and original. A robot going biserk while stationed in a science facility is a great idea to make a suspensful sci/fi epic. But somehow this film doesn't pull it off. The one thing that got to me is how dated this film is. It's not too terribly old; it was released in 1979, but the special effects look like they are out of a 1960's film. Alien came out the same year and this film but this looks like it came out 10 years before it. I also was not big on the acting itself. Harvey Keitel gives a wooden performance, Kurt Douglas is unconvincing as a scientist, and Farrah Faucet just seems be thown in as some Eye Candy. What a shame because I usually like these actors. When the robot finally goes biserk, it's not all that scary and it doesn't last all that long. When its all said and done, this film emerges as a failure, which is a shame because it had so much going for it.

How wonderful they put this on DVD!
This is a classic sci-fi film that is largely overlooked. But it has been looked upon enough to make the decision of putting it on DVD and this is wonderful! Now this treasure will be preserved longer.

The plot is about a planet called Saturn 3 where two scientists live to conduct research. Their research is a little behind schedule so another scientist gets sent down to help out a little with some new technology. Unfortunatley, the scientist that is supposed to go down gets ambushed and replaced by a crazy guy with some devious plans in mind. He takes down a robot that learns by a wireless link between itself and an actual human brain. Since it is hooked up to and is learning from the mad scientist it goes a little haywire. It gains the obsession of the female scientist that it's teacher has as well. See the robot go crazy and watch the scientists run for their lives and try and escape from the desolate Saturn 3!

I love this movie! I give it 4 star because it loses one star for going at a slow pace. Yes, this movie does move slow; but it is fun to watch and has a totally cool story. B-Movie Classic!!

1hour and 27min of my life ill never get back
This movie had all the appeal of watching my dog pinch a loaf on my lawn, actually that is more entertaining. The high point in the film was the actual construction of the robot, everything before and after was a total waste of money and time. What were Kirk Douglas and Farrah Fawcett getting paid to do other than taking showers and rolling around naked with each other? Surely they were there for a reason but what, they never did any work at all and as far as the special effects I've seen better shadow puppets for an eclipse than the one in this film. Harvey Keitel was a very convincing horn ball that's about it; I think his mission was to get laid by Farrah. The absolute worst was Hector falling into the acid and coming out with what looked like dried Crisco stalactites shouldn't all of his plastic tubing have instantly melted? Anyway I think I'll go watch Cabin Boy now since it now looks like Casablanca compared to this.

I am guilty once again
AS I HAVE STATED BEFORE:
If you like campy Science Fiction as I do than this film is for you.
There is not a lot to say about film like this because it is not actually any good at all. It is just a "Cult" like bad Sci-Fi movie that is enjoyable to those who well, enjoy this type of fun rubbish. And I am guilty.

To add a bit, this film stars Farrah Faucet that alone gives it potential. This film brings back memories of my childhood bedroom and that famous poster I blew a kiss to each night before going to bed. ... Read more

Amazon.com

Happy Gilmore
Adam Sandler fans are sure to enjoy this no-brainer comedy, but everyone else is strongly advised to proceed with caution. Before scoring a more enjoyable hit with his 1998 comedy The Wedding Singer, the former Saturday Night Live goofball played Happy Gilmore, a hot-tempered guy whose dreams of hockey stardom elude him. But when he discovers his gift for driving golf balls hundreds of yards, he joins a pro tour to win the prize money needed to rescue his beloved grandma's home from IRS repossession. The trouble is, Happy's not so happy. He's got a temper that frequently flares on the golf course (he even dukes it out with celebrity golfer Bob Barker), but a retired golf pro (Carl Weathers) and a compassionate publicist (Julie Bowen) help him to perfect his putting game and adjust his confrontational attitude. How much you enjoy this lunacy depends on your tolerance for Sandler's loudmouthed schtick and a shocking number of blatant product-placement endorsements, but if you're looking for broad comedy you've come to the right teeoff spot. --Jeff Shannon
Billy Madison
For Adam Sandler fans only, this dopey comedy features the former Saturday Night Live star as an overindulged rich guy whose father insists he repeat grades 1 through 12 before taking over the family business. The scenario is perfect for Sandler's infantile leanings (which he has fortunately outgrown in more recent movies), and for the most part the jokes about being too old and too big for the experiment are obvious. Chris Farley and Steve Buscemi turn up in uncredited cameo appearances, but otherwise the film is pretty dismissible, except for those diehards who can't get enough of Sandler. --Tom Keogh ... Read more

Reviews (1)

Awesome Flicks! Buy Them!
These are quite possibly the two greatest Adam Sandler movies ever released. His new movies of of no comparison to the great comical humor of both Happy Gilmore and Billy Madison. Now, I haven't seen the deleted scenes supposed to be placed only in this set for these two movies, but they should be great. If Billy Madison has the "kickball scene" found only on the TV edit of Billy Madison you are already getting your money's worth. My advice - buy them (you WILL NOT regret it). ... Read more

Description

The stunning Laura Gemser stars as Emanuelle, the fearless fashion photographer and investigative photojournalist whose thirst for adventure is matched only by her insatiable erotic hunger. But when Emanuelle uncovers shocking evidence of an international snuff film conspiracy, she is plunged into an odyssey of forbidden passion, depraved desires and unspeakable human brutality. From the lust-filled streets of New York City to the corrupt corridors of Washington D.C. and beyond, one of the most controversial sex and gore epics in exploitation history has finally come home: This is EMANUELLE IN AMERICA!

Everything you've heard about this jaw-dropping cult classic is true: graphic sex, harrowing violence, a horse named Pedro and much, much more.Directed by the notorious Joe D'Amato (BEYOND THE DARKNESS), EMANUELLE IN AMERICA has been newly mastered from pristine vault materials and is now presented completely uncut for the first time ever! ... Read more

Reviews (12)

Well, You Wanted Something Different....
Sleaze director Aristide Massaccesi (a.k.a Joe D'Amato) died suddenly of a heart attack in 1999, the unfortunate culmination of a long career as the creator of numerous low budget horror and soft-core sex films. Among horror fans, D'Amato's seminal contributions to the genre include the taboo busting 1981 film Anthropophagus and the ultra gory 1977 classic Buio Omega. Joe's films crossed the borders of bad taste as often as they mixed gluey gore with sexual themes. It is perhaps this movie, "Emanuelle in America," that best personified the basic premise of a Joe D'Amato film. Lovingly reconstituted by Blue Underground, a new DVD company specializing in underground cinema, this Laura Gemser vehicle was the first of a string of Emanuelle films helmed by D'Amato. It was also the beginning of a long collaboration between D'Amato and Gemser that eventually ended with the Indonesian actress's retirement in the mid 1990s. We'll never see a new Joe D'Amato film, but with the advent of DVD fans will finally see excellent versions of all of his old classics. Up until a few years ago, many of us acquired grainy third or fourth generation dupes in order to view any film from Joe D'Amato. Those days are now over.

In "Emanuelle in America," Indonesian actress Laura Gemser plays Emanuelle, a newspaper journalist who roams the world in search of offbeat stories. There really isn't much to the plot here, with Emanuelle embarking on trips to Italy, the Caribbean, Washington, D.C., and Latin America. In each of these places, she uncovers various sexual situations ranging from a brothel controlled by a crime boss to degenerate nobility in Venice to a "dating service" in the Caribbean. The final adventure sees Emanuelle searching for the makers of grotesque snuff films. The movie concludes with little resolution in a tropical paradise where Emanuelle and her boyfriend encounter a native tribe and a mysterious "film set" (?) before running off into the sunset. Predictably, the acting is terrible, the dialogue laughable (I rolled my eyes at least four times), and the plot fails to achieve any sort of continuity. I know the whole idea of the Emanuelle films involved exotic locales mixed with cheesy soft-core erotica, but I'm willing to bet several other entries in the franchise possessed a better sense of wholeness than this one did. Moreover, the nudity and inserted hardcore scenes (yes, there is hardcore in this movie) didn't really do anything for me. Maybe it's because this is the 1970s and all of the women look rough. Whatever it was, I just didn't find "Emanuelle in America" all that erotic.

There are many intriguing elements to this film once you look past its flaws. Several music pieces, especially noticeable during the pool scene, were downright excellent. They had a sort of new age/Pink Floyd sound to them. I also thought the cigarette pack table/bar was cool. But it is D'Amato's taboo busting scenes that really take the cake here. First, there is a scene with a horse that is, well, controversial. That scene is here in its full nauseating glory. As if this isn't enough to float your boat, there's the snuff film segments. Employing stomach churning gore effects, D'Amato doctored up these sequences by scratching the film, using quick cuts, and employing jumping frame techniques to make the snuff footage look like the real thing. It is gruesome, even more so by its association with intimate relationships. On an unrelated note, I thought that the guy who pulled the gun on Emanuelle in the beginning of the movie was none other than actor Maxwell Caulfield (best known for his role in "Grease 2"). Upon further investigation, I can't confirm that it is actually Caulfield, but it sure looks like him.

The extras on this disc are simply marvelous. You get a thirteen minute interview with Joe D'Amato made shortly before his death, an audio interview with Laura Gemser, and background on the Emmanuelle phenomena (D'Amato and others changed the spelling of Emmanuelle to "Emanuelle" in order to avoid copyright problems), a franchise which ran for decades throughout Europe and America. The best extras on the DVD are the talent bios for D'Amato and Gemser. These two biographies deeply explore the careers of these two underground favorites. Any information on D'Amato is always welcome, and the bio here does a good job constructing a partial filmography of this busy director. Interspersed throughout the bios are movie posters for various cult films made by Gemser and D'Amato.

It's amazing how great the film looks on DVD. It is obvious that the technicians pieced in several scenes in order to present an uncut version of the film, but overall the picture looks splendid. I hope the release of "Emanuelle in America" signals a growing movement to release even more D'Amato works in the near future. "Troll 2," a D'Amato classic not to be missed by anyone with a love for "so bad they're good" movies is due to appear soon. If new uncut versions of Anthropophagus and Anthropophagus 2 followed, I would truly be happy. For those new to the Joe D'Amato catalogue, "Emanuelle in America" is a good place to start. This movie isn't great, but it is an important contribution to underground cinema.

Disturbing
A friend of mine showed this video to me. The only words that describe this movie is "Disturbing." I hope every part of the "snuff" scenes were fake. I could barely stomach any of those scenes. The sad thing is that stuff like this actually happens. Anyone who finds that entertaining should be shot. All you people that get off from watching this stuff and would prefer the "uncut" version of this movie because of the snuff scenes should be shot as well. Movies like this are helping these sick [people] watch their snuff legally.

it certainly has its moments....yeah...it goes there!
I admit I was sceptical about how good this '70's erotic movie would be. Unfortunately it was a slow moving film until the final 30 minutes or so. The main actress is less than exciting, its all about the situations she gets into that make this movie worth watching. There are some actual hard core sex scenes that are welcome to the viewer, by the time you get through seeing so many phony "soft core" sequences. Again...towards the end of the film the real hard core scenes present themselves. Of course its simulated "snuff" action...but what action! Its unfortunate the director didn't show more than snipetts of those very strong scenes! I was impressed by the reality of the snuff stuff...I would have enjoyed more raw sex with the star participating, however she came across as frigid as a dead cod for sale in a fish market! If it wasn't for the tension of certain parts of this film, it would be a zero star film. The very hot hard core sex scenes and the snuff movies being shown in the background gives this film 5 stars from me!
I don't anticipate seeing anything else quite like it...made during the 1970's or anytime before or after this film. Hollywood may be making billions from the porn industry these days, but they sure don't make erotic films like this one, or the best one ever, "The Image". This film may be too strong at some times for your girlfriends to watch with you, however, if they are very "freaky" little pigs....they'll get wet all over the couch with you!

Laura Gemser: the worst Emanuelle character
If Sylvia Kristel had acted in this it probably would have been more entertaining, since she doesn't mind doing a sex scene or two. Laura Gemser, on the other hand, was plenty nude in this film (about every 5 minutes or so), but she has nothing even remotely close to a "sex scene". What gives? She gets touchy feely on a few occasions, but nothing special. Maybe that's why they had to call her "Emanuelle" with one M, instead of Sylvia Kristel's "Emmanuelle", because the extra M means MORE sex.
That's okay, because there was plenty of sex to be had by everyone else, even the horse! Contrary to the review from "dirk digler", Laura did not have anything to do with the horse, and nobody had sex with it. Some lady just massaged its genitalia. Big deal.
There is a scene at a party which turns into an explicit pornographic orgy and, later, when Laura is out and about taking pictures of people having sex for some reason, they are all engaged in explicit, real behavior. So that makes up for Laura's lack of "getting it on", but her soft-core stuff would've been silly compared to what else was going on, anyway.
Now, the "snuff" stuff.....I'll admit, it was quite troubling to watch at first, until I heard in a commentary how the director scratched up some 8mm film he shot the scenes with to make it look grainy and real. His efforts paid off, as far as realism goes. I honestly couldn't tell if it was fake or not at first, until one of the "victims" (the torn breast girl) didn't quite convince me that she was being tormented. But the meathook? How could you fake that? Even if it is fake, it still is creepy to watch. Definitely effective cinema, if nothing else.

Draining the horse
That's awesome how Emmanuelle jacks off the horse then turns around and takes it in the rear! Next time I get near a farm I'm gonna do the same thing! ... Read more

Reviews (92)

Realistic, Gritty Crime Tale
In one of his best performances ever, Al Pacino is the engine that keeps "Carlito's Way" moving from beginning to end. Recently-released from prison, Carlos Brigante (played marvelously by Pacino) is a former Puerto Rican drug lord who ruled New York City's drug world during the 1960's and 1970's. Assisted by his lawyer (Sean Penn) Pacino is determined to stay out of the trade that landed him in prison in the first place. However, as usual trouble always lurks in every corner.

Deciding to buy and operate a Latin nightclub from an owner who is seriously in debt (played by the famous Argentine comedian Jorge Porcel, who had a cult following throughout Latin America due to his sexually-charged comedy skit show "A La Cama Con Porcel; he is know as the Latin-version of "Benny Hill"). Yet as old faces reemerge onto the scene, newer faces have also started to take a foothold in Brigante's former empire, especially Benny Blanco (played by the ever-wonderful John Leguizamo).

Directed by Brian de Palma ("Carrie"), this is one of the most realistic, and historic accurate pictures of life in New York City's urban jungle during the late 1970's/early 1980's. Penelope Ann Miller ("Adventures in Babysitting" is great as Brigante's love interest, and Luis Guzman always is a scene-stealer playing Pacino's right-hand man.

The DVD version contains production notes, cast biographies, and the original theatrical trailer and the sound and picture quality are excellent. Pacino (a Bronx native) masters a perfect Puerto Rican accent in the same way he mastered his Cuban-emigre accent in "Scarface". "Carlito's Way" is guaranteed to keep you entertained due to thrilling performances by the entire cast, amazing cinematography, great directing, and most importantly, incredible realism. Destined to become a modern urban classic.

scarface with a twist
When the guys that brought you Scarface team up again what bad
things can happen.Brian De Palma and Al Pacino two of the biggest
stars on their film duties in Hollywood today.This movie really
has the 80's,disco feel scarface as but as the De Palma plot turn
and twists seen in Snake Eyes,Body Double,and Raising Cain so it'
s all very entertaining.Along with another De Palma regular Sean
Penn(Casualties Of War) plays the coke addicted wacko lawyer to
absolute perfection.This film not as violent as Scarface as more
plot twists which makes it almost more entertaining with a great
cast including John Leguizamo and Penelope Ann Miller Carlito's
Way is one of Pacino's,Penn's,and De Palma's best films ever so
if you like a mixture of The Usual Suspects and Scarface give
Carlito's Way a watch it's great.

What is so Wonderful about this movie?
This is not that great of a movie. I dont know why people are making such a big deal out of this movie. I saw it, I tryed to understand it, I just thought it wasnt one of Pacino's best....sorry

Pacino and Penn give great performances
almost a sequal to scarface..Carlito Brigante is Tony Montana after doing 15 yrs and having a change of heart...I cant beleive there wasnt some thinking on those lines from the actor and director of both movies...Sean Penn nearly steals this movie as David Kleinfeld Carlitos lawyer is more crooked than the crooks he defends..and Luis Guzmán as Pachanga shows why hes one of the best character actors working today...

The best film of Brian de Palma
The facts derivated from the story put us before a man who wants to get away his destiny , but (in a mgnificent shakesperian mood), nobody can escape from his past.
There's no doubt that this film has multiple virtues. Sean Penn grew up like actor al least two thousands steps. His role is so well made like the sinister lawyer without a drop of scruples, and this is the fate's arm that literally takes to Tony Montana and throws to hell.
In my personal view, I think Sean Penn deserved an Academy award by this role.
It's a sinister view about the redemption given by Montana since he leaves the jail.
Pacino gives one of his more relevant roles all along his career.
He gives us that crude sensation of walking in the edge of the knife through all the film. Will it be necessary to say that in this film like in others, Pacino is much more than an actor, he is a nature's force and elevates the standard performance of every one of his partners?.
Watch for instance one of my favorite beauties of the cinema: Penelope Ann Miller. Her role is so well made that this film literally gave to David Lynch the final decission for including her in Mulholland's drive.
There are several unforgettable sequences in the film. The first of these belongs to that claustrophobic situation in which we find Carlitos, when he decides to rescue the money of his beloved friend. In his honor code, Carlitos can not give a "no" like answer. And that's the road to his perdition.
The other anthology scene is that made in the hospital when he visits to the lawyer by last time. The slow camera describes all the movements of the false police who revenges to his father and we can see how the bullets are released by Carlitos just before.
The final shots camera in the chase when Carlitos has planned everything and runs with the clock dictating its final minutes. The angles of camera and the tension produced in the train station for me is above his tribute to Potemkin in "The untouchables".
Carlitos way is a cult movie. But also you can consider like the shakespeare spirit made present in what I would design together with Road to Perdition , the most original "film noir" movies in the last fifteen years. ... Read more

Reviews (126)

"Dear God, Give me Strength.."
The Omen is a great movie, but what I want to talk about is the commentary part of the disc; Even if you're not the type who usually cares to listen to commentaries, this one is worth it. Director Richard Donner and Stuart Baird, the editor sit down for a leisurely chat about the making of the film. The commentary adds a lot, and makes you appreciate the film even more. One thing that particularly comes through is how much of a role the casting played in the film, and how the COMMITMENT of the cast mattered so much. In the hands of lesser talents, The Omen could have come off as so much camp, but director Donner chose people who could play it straight and who would feel, not so much that they're in a "horror" picture, but more of a psychological suspense thriller. And it worked. From the leads, (Gregory Peck, Lee Remick, Billie Whitelaw, David Warner) all the way down to the bit players (Leo McKern) the actors are totally credible and interwoven into the story. Donner and Baird lavish praise even on certain actors who had only one or two lines! They're pretty funny, making light-hearted fun of the arguments Thorn has with Mrs. Blaylock, but even in their joking you realize that Peck/Thorn is at the center of the film and its his relationships with other characters (Remick, Whitelaw, Warner, a