Description

God is stressed and needs a break from the Earth and the troublesome human race. But before he can take his vacation, he has to find himself a temporary replacement. ... Read more

Reviews (1)

Theologically Compelling and Comical
This movie, God is Brazilian, is one of the best films of the year.In the story, God wishes to take a break from managing the
Earth, and comes to Brazil to find a holy man to replace him for
a short time, while he enjoys the stars and alternate universes.
God meets several individuals on his "road trip" through
Brazil to find this saint, and discusses his views on miracles,
death, love, devotion, and faith.However, the movie is a comedy and turns out to be both theologically intriguing as well
as "extremely funny" at times. I know of nothing like this
film and it far surpasses any American film which tries to
take a comical view of theological concerns.I cannot recommend it enough for those interested in religion or comedy. ... Read more

Amazon.com essential video

Hollywood's loss was Europe's gain when Jules Dassin fled America because of the House Un-American Activities Committee blacklist at the end of the 1940s. His films helped bring the moral ambiguity of the postwar American thriller to Europe, inspiring a new generation of critics and filmmakers. Writing several years before he made The 400 Blows, François Truffaut praised Dassin for the way his films "combin[ed] the documentary approach with lyricism," a method that would inform many of the new wave films of the '60s.

Rififi, shot on the rainy streets of Paris, is imbued with the same gritty realism that marked Dassin's earlier work in New York (The Naked City) and London (Night and the City). Jean Servais plays Tony le Stéphanois, an aging crook whose thin lips and tired, seen-it-all eyes give him a look somewhere between Humphrey Bogart and Harry Dean Stanton. Out of jail after a five-year stretch, he joins up with a couple of pals to pull one last heist: a jewel robbery that is portrayed in such detail (including tips on how to silence an alarm using a fire extinguisher) that the film was banned in several countries.

The robbery sequence alone, which lasts for 30 minutes and is played entirely without dialogue, would be enough to ensure Rififi's classic status, but there's a lot more to enjoy, including terrific performances from Marie Sabouret as Tony's world-weary ex-girlfriend, and from Dassin himself as a dandified Italian safecracker with an eye for the ladies. After the thrill of the heist, in the film's final scenes when, with the inevitability of the best films noirs everything falls apart, Dassin achieves the lyricism that Truffaut admired so much. By combining the conventions of a caper movie with his own brand of bleak nihilism, he made Rififi into a film that deserves to be counted among the best ever made.--Simon Leake ... Read more

Reviews (27)

MASTERPIECE
Jules Dassin does have a seat of choice in the gallery of Movie History. The movies he directed in Hollywood in the late forties are now classics and his courage under the Mc Carthy era demands our utmost respect. Exiled in France, he directed RIFIFI aka " Du Rififi Chez Les Hommes " in 1954 based on a Série Noire novel of Auguste le Breton. And it's simply one of the best films noirs ever made.

Jean Servais is perfect as a french Bogart marked by tuberculosis, Robert Hossein, in his first role, terrifying as a drug addict tougher than George Raft and Jules Dassin himself, in the role of an italian bad guy, very convincing. Add a wonderful singing act of Magali Noël, the french starlet of the sixties, the great Alexandre - The Children of Paradise - Trauner as art director and the 30 minutes anthology scene, without musical score nor dialogs, of the robbery and you have a movie you can't neglect if you are a true movie lover.

The copy presented in this Criterion DVD release is definitive and the 25 minutes interview with Jules Dassin a bonus feature very appreciated. There is also the choice between the french subtitled version and a dubbed version for the lazy ones. How can you still hesitate ! Go, buy and be happy.

A DVD zone your library.

Another Great Criterion Release
After something of a dry spell, Criterion has finally released a bunch of great DVDs this month. Their edition of "Rififi" - while probably not as well known as their mammoth "Spartacus" release - deserves a lot of praise. They've included an interview with the director, Jules Dassin (still alive at 90 years) and their remastered print has the stark clarity - and beauty - of the work they did on "The Third Man."

"Rififi" is almost the same caliber of "The Third Man." Its a crime story - its about a quartet of thieves who after pulling off a daring robbery (the robbery itself is an wonderfully extended silent sequence) and it has a lot of the "late-noir" ambience that the "Third Man" and "Touch of Evil" have. Jean Sevrais is fantastic as the ringleader although the film lacks the real dynamic characterizations that make "The Third Man" so compelling. Since "Rififi" has been made in so many incarnations - including "Reservoir Dogs" - its a bit predictable as well.

Still, "Rififi" is a wonderful film - an American noir (directed by an expatriate American living in France) that's been perfectly recast into its French surroundings. Buy, watch, and savour.

Rififi needs editing? Hardly.
Rififi needs editing? Hardly. Rififi needs nothing but bowing down to. Some college Joes from Collegeville need editing. The permanent kind. Can there honestly be a place in the world out there called "Collegeville"?

Needs Editing
I'm sure film school buffs, Tarrentino too, thought this movie great simply becaue it cost so little. Isn't that every film student's dream: make a movie for peanuts and get famous. This movie is the first heist flick and it is influential. The burglery is clever and without special effects, so I applaud the simplicity, but this film needs editing. It is too long. There's a half hour of baloney to remove to tighten this baby up. Jules Dassin should know better and he gets a lot of credit because he's on the Black List? You see, the Black List is the lightning rod for the Left, very emotional. Hey, if you're trying to destroy democracy and capitalism in the richest, most succesful country ever, am I supposed to send you roses? My favorite scene -- the kid crawling all over the convertable 54 Oldsmobile laughing his head off while Tony is bleeding to death. It makes no sense, but its so French New Wave.

Instead of
reading the re-hashes of the plot below (so many people still don't understand what "review" means), and the one person who dubbed it "Boring" (find another past time, OK?), check out the reviews that really talk about this film, and then treat yurself and buy it. YOu won't be disappointed. It's a true classic. ... Read more

Reviews (140)

That's Entertainment!
I saw this movie in 1963 when it was released. I was captivated by it then and remain so. The kaleidoscopic opening credits are as beautiful as I remember, and the chase scenes-- on foot here-- are still exciting. We will never see anyone like Audrey Hepburn again. A total original, she and Gary Grant-- showing considerable skill as a comedian here-- are magnificent as a couple, having both style and electricity, often forgotten qualities in many of today's leading actors. Heburn and Grant are assisted by the likes of James Coburn, a young Walter Matthau and George Kennedy in supporting roles. Then there's Henry Mancini's score and direction by Stanley Donen. The plot takes many interesting twists and turns as Ms. Hepburn tries to figure out just who the dashing Mr. Grant really is-- a criminal or her savior or perhaps both or neither.

If you've seen this movie before, you'll enjoy a replay. If this is your first time, you'll in for a real treat, a delightful way to spend an evening.

Old Style Hollywood Glam in Gorgeous DVD Transfer
This is an exceptional DVD transfer of an exceptional movie. Criterion has done a magnificent job of restoring Charade to its colorful glory. The film is presented in its original 1.85:1 aspect ratio. The print is clear, crisp, and beautiful to behold. You feel as if you can reach out and touch the actors.

And what actors! The film features the dashing older version of Cary Grant and the youthful gamine Audrey Hepburn, with enough chemistry between them to ignite a fireworks factory. The plot is a convoluted and flimsy trifle about cold war spy shenanigans, with cases of mistaken identity and episodes of grave danger for Miss Audrey. But Cary, the classic good guy in cad's clothing, is there to save the day. In addition to which he provides chaste romance that sizzles beneath the civility.

Audio commentary is provided by director Stanley Donen and screenwriter Peter Stone. While interesting and funny in spots, it does drag a bit over the length of the film. It may be better to check it out when you find something in the film that you would like to hear dissected. Otherwise, you'd be better to stick with the delightful, corny dialogue spoken in the dulcet tones of Cary and Audrey. The soundtrack music is to also to be savored, done up in classic '60s spy movie style by the movie maestro Henry Mancini.

If you have nothing to do on a rainy day and own a DVD player, this is the movie you want to have on hand to pop in the machine and deliver you from care. It's a keeper (and it comes in a keeper case!).

the original is always better
and lucky for you this is the original. loved it.

Good mystery--stiff romance
The mystery in this movie is great...dark characters, and questions at every turn, along with a great ending! However, I did not find the romance between Hepburn and Grant believable. Their relationship seems forced, with the Hepburn character to bright to fall for the lame explanations that she is given by Grant's character.

I would have appreciated a less definitive ending with respect to their relationship, which would have been fine given how the mystery aspect of the story comes to a close.

Criterion re-releasing "Charade" in anamorphic
(...)

They're also offering to upgrade existing letterbox copies of their previous release for $15. If you're looking to buy this disc I would recommend waiting until Amazon offers the new version (soon, I'm sure), or buying directly from Criterion (no discount). I certainly want to buy this DVD, but I've been waiting for an anamorphic release. And soon it will be here! ... Read more

Reviews (65)

Memorable Melodies Mayhem
Looney Tunes: Back In Action is an enjoyable, harmless romp, that will please both young and old viewers alike.

The story starts to unfold on the Warner Brothers Studio backlot and careens all over the map in classic Looney Tunes style. Bugs, Daffy, and many other childhood favorites embark on an adventure that takes them from Hollywood to Las Vegas, Paris and the jungles of Africa to help search for their human friend DJ Drake's (Brendan Fraser) missing father. He along with Kate (Jenna Elfman) are also on the trail of the mythical and powerful Blue Monkey Diamond. The only problem is that the evil Chairman (Steve Martin) of the Acme Corporation also wants the gem as well.

Thanks to films like Roger Rabbit and Space Jam, combining animation and live action, is not as difficult to imagine, as it was deades ago. It's hard not to enjoy this film. Having Joe (Gremlins) Dante, as the film's director is a good thing. He has solid insticts for a film like this. Anyone uptight about the movie should relax and enjoy. It's great to see these characters again. The film brought back some fond memories for me. The human actors are a perfect fit to this wacky film.

The DVD has some solid extras. Viewers get to see a new Looney Tunes short called "Whizzard of Ow". The featurette "Looney Tunes Out of Action: Best Scenes You've Never Seen" offer deleted and alternate footage. Next up, is the fun-filled "Behind the Tunes", as Daffy and Bugs as give a tour of the set. Also hosted by the duck and the rabbit is "Bang Crash Boom", a featurette on the film's special effects. The theatrical trailer, hidden easter eggs features Yosemite Sam and others, and more deleted scenes are available via DVD-ROM, top off the extras.

Fun all the way around-recommended

Too Hokey for Adults or Older Children.
In the world of "Looney Tunes: Back in Action", cartoon characters and humans co-exist and interact. As the story goes, Warner Brothers studios has grown tired of Daffy Duck's demands, and since the studio has a low estimate of his market value anyway, they have fired the Duck. But Bugs Bunny just can't work without Daffy to pick on, so Warner Brothers has insisted that the vice president of their comedy department, Kate Houghton (Jenna Elfman), get the Duck back pronto. In the meanwhile, a dejected Daffy (voice of Joe Alaskey) has taken up with D.J. Drake (Brendan Fraser), the security guard who escorted him off the studio lot. D.J. has been shocked to learn that his movie star father is actually a secret agent, and both he and Daffy have gone to Las Vegas to rescue the elder Drake and recapture the "Blue Monkey", a diamond that has supernatural powers. When they learn of D.J. and Daffy's whereabouts, Kate and Bugs Bunny (voice of Joe Alaskey) set out after them. They all end up trying to foil the plans of the evil Chairman (Steve Martin) of the Acme Corporation who wants to use the Blue Monkey to achieve global domination.

So the plot is hokey. It's a spoof of James Bond films, featuring former Bond himself, Timothy Dalton, as secret agent Damian Drake and Steve Martin as the head of a very Spectre-like Acme Corporation, alongside a host of Warner Brothers cartoon characters. "Looney Tunes: Back in Action" may appeal to young children, but there's nothing to entertain adults who enjoy the looney gang from Warner Bros. It has some clever moments, and the writing for Daffy Duck is good, but between the bright spots it's a real snooze. There are cameos by a host of television and film stars, including Heather Locklear and Joan Cusack. The story is far too silly, even for a cartoon, to keep the attention of any but the youngest viewers. The film exploits the humor of its Warner Brother characters but needs a much better story to tie them together. Looney Tunes have traditionally been sophisticated enough to entertain fans of all ages, so I see no reason why this movie shouldn't be. I'm giving it three stars for some occasionally clever writing, but as a whole "Looney Tunes: Back in Action" isn't very watchable. It may entertain children under 6 if they have the patience for it.

The DVD: Bonus features include "Behind the Tunes", a comical making-of documentary narrated by Daffy Duck and Bugs Bunny, "Bang, Crash, Boom", a special effects documentary also narrated by the cartoon duo, "Whizzard of Ow", a short animated film featuring Wile E. Coyote and Road Runner in which the Coyote makes use of a book of wizardry in pursuing the bird, deleted scenes, a theatrical trailer, and a DVD-ROM which contains additional scenes. "Behind the Tunes" is only mildly informative, but it's fun. "Whizzard of Ow" is a must for Road Runner fans; it's the same format as all Road Runner cartoons. Subtitles are available in English, Spanish, and French. Dubbing is available in French and Spanish.

Looney fun
I have given this film 4 stars because my six-year-old son loves it, and I assume that's the age group it's aimed at. Brendon Fraser plays a security guard at Warner Brothers Studios who gets sacked, at the same time as a bossy female executive sacks Daffy Duck. Fraser and Daffy join forces to find Fraser's dad (Timothy Dalton) a film star who plays a spy who is actually a spy in real life. He has been kidnapped by a mad scientist (Steve Martin) who wants to find the Blue Daimond, which has magical powers. Fraser and Daffy have to get to the Blue Diamond before Martin does. also Bugs Bunny is trying to get Daffy back to the studios. The mixture of live action and cartoon characters will amuse children, and if you are a big Looney Tunes fan you should love it (I'm more partial to Tom and Jerry myself). On the other hand, if your main interest int he film was in the presence of Timothy Dalton, you may notice that there's not a lot of him in it really. Never mind, the kids will love it.

This is it folks!
"Dynamite?" yells Jenna Elfman halfway through this film "Who has dynamite?". "Welcome to my world" comes Daffy Duck's reply. Yes indeed, welcome to the world of the Looney Tunes.
This film has been unfairly compared with Who Framed Roger Rabbit and, although not in that league at all, it has enough comedy and inventiveness to stand as a semi-classic in it's own right. At least it's not Space Jam.
I'm a firm believer that Bugs and co. can quite easily carry their own movie without the help of non-toons, but until then this'll do. For a Looney Tune fan such as myself there are plenty of character cameos and in-jokes to warrent several repeat viewings just to catch them all. The same goes for general movie fans (Roger Corman directs Warner's new Batman movie!?). Most, if not quite all, of the Looney Tune family get screen time with Daffy coming away with the lion's share. Other characters that are well served by the script are Yosemite Sam, Wile E. Coyote and Marvin the Martian leaving the likes of Tweety, Sylvester, Taz and Elmer somewhat under-used - still, it's only a 90 minute movie. We also have a wonderful cameo from a suitably flat-looking Scooby and Shaggy - a joke against classic-versus-TV-animation for the keen-eyed!
A real high-light is the treatment that 'political correctness' gets in the script. We see Porky Pig and Speedy Gonzalez bemoaning P.C. attitudes (stutterers and racial stereotypes being somewhat taboo now) and, at one point, one of Sam's henchmen worrying that if he does indeed throw TNT out of the window "someone might get hurt". Sam's guns have been taken from him (although he's still allowed a cannon!) but at least Elmer Fudd has been allowed to keep his trusty rifle. Bugs Bunny's love of cross-dressing also gets questioned!
As with all of the other reviews for this film, I must mention the Louvre scene - Bugs, Daffy and Elmer running through a series of classic paintings. The DVD release allows a little more appreciation of this whole sequence with the use of freeze-frame. Other set-pieces that hit the spot are the Area-52 scenes (with lots of sci-fi fan pleasing cameos from classic aliens) and space-set climax.
The human actors are passable. Frazer and Elfman are not so bland as to be completely up-staged by the toons and Timothy Dalton proves he has a sense of humour by parodying his 007 character. I seem to be one of the few people who enjoyed Steve Martin's performance. Playing it ridiculously OTT, he is as close to a human-toon as possible - I think it works.
Overall, the script is funny enough although the 'plot' is incidental, the animation is excellent and interacts well, if not quite enough, with the real-world and, most importantly, all of the characters stay in character. But, as I said at the beginning, this ain't no Space Jam. Thankfully.

Fun for all ages!
This movie is hilarious! I enjoyed every moment of it! If you were a Looney Tunes fan as a kid then you'll love this movie! It will bring back a lot of memories from watching it on tv. I would recomend this movie to anyone! ... Read more

Amazon.com

The Hardy Boys Mysteries and The Nancy Drew Mysteries began in 1977 as separate series alternating in the same time slot on ABC. Early the following year, the casts combined, and in the fall of 1978 the Nancy Drew thread was dropped and The Hardy Boys Mysteries continued on alone. This Season One boxed set captures the twin-series idea at its most ambitious, with adolescent brothers Frank and Joe Hardy, created by author Franklin W. Dixon, sleuthing for clues one week and Carolyn Keene's Nancy Drew investigating crimes the next.

Actually, as fans of the books know, Dixon and Keene were both pen names used by Edward Stratemeyer when he created those characters in 1927. Just as the young detectives have been updated in print every so often to accommodate successive generations of readers, so too did the TV show present Joe (Shaun Cassidy, brother of David Cassidy of The Partridge Family), Frank (Parker Stevenson), and Nancy (Pamela Sue Martin) as thoroughly 1970s kids. The boys are outfitted with motorcycles, Joe enjoys a retro-pop singing career, and Nancy has a certain freedom of movement only the hippest of dads in a permissive age would allow. Hardy Boys finds the always-amicable siblings following in the footsteps of their father, Fenton (Edmund Gilbert), a private detective, as they untangle capers that take them from haunted houses to Hawaii. The Hardy episodes make for brisk, family viewing, much better than the bubblegum reputation that built up, undeservedly, around the series. Slightly less interesting are the Nancy Drew programs (despite a more entertaining supporting cast), but only because the heroine is less focused and distractingly man-crazy, and the storylines are less exotic. An emphasis on the supernatural and science-fiction themes lends a Scooby-Doo vibe to several programs in both series, though the best stories are the ones with straightforward, meat-and-potatoes detective work. Among the directors on either series are Jack Arnold (The Creature from the Black Lagoon), Winrich Kolbe (Star Trek: The Next Generation, and actors Vince Edwards and Stuart Margolin. --Tom Keogh ... Read more

Amazon.com

John Wayne and Anthony Quinn star in this touching 1945 drama inspired by real-life heroism in the Philippines following General MacArthur's withdrawal in 1942 and the islands' subsequent conquest by the Japanese army. Wayne plays Colonel Joe Madden, an American who stays behind to organize a ragtag guerrilla army in the forests and hills. At his side is Captain Andres Bonifacio (Quinn), grandson of a legendary revolutionary martyred in the nation's old war against Spanish colonialists. Joe, Andres, and their fearless irregulars (with support from a schoolteacher, played by Beulah Bondi) sap the enemy's resolve through hit-and-run missions, but as time passes the locals wonder, with pronounced disillusionment, why America doesn't return with masses of troops and weapons. Wayne's star power is undeniable, and Quinn is very good as a man uncertain of his role or destiny. Edward Dmytryk (Murder, My Sweet), soon to be imprisoned during Joseph McCarthy's witch hunt of Hollywood communists, directs. --Tom Keogh ... Read more

Reviews (8)

may we never forget Bataan
Some of the most horrific events of WWII occurred in the Pacific Theater, and this film touches on what happened in Bataan, where tens of thousands of U.S. and Philippine soldiers died in captivity, either on the infamous Death March, the appalling POW camps, or the hell-ships.
At the beginning and ending, this film briefly shows some of the survivors, though it is "sanitized", and the men have some flesh back on their bones.

John Wayne is terrific as Colonel Madden, who organizes the resistance fighters, and does his own stunts, some of which must have left him muddy and bruised.
Anthony Quinn is also excellent as Captain Bonifacio, the leader of the Filipino guerillas. Both Wayne and Quinn are at their most handsome and heroic, and make a fine cinematic pairing.

Though the script is sometimes stilted, it is based on actual events and people, and was written as history was happening, taken from the daily newspapers to the screen.
Edward Dmytryk's direction is well paced, and Max Steiner's "stock music" was used, along with an original score by Roy Webb.

Much in this film can be said to be "propaganda", as it is "good vs. evil", with no subtleties or gray areas, but these were the days when Hollywood and patriotism were compatible, a sentiment that filmmakers seem to have lost, and a time that seems long gone.
May we never forget the souls who bravely fought for freedom and suffered so much in Bataan.

Just a little patriotism involved
Back to Bataan is a flag-waving patriotic movie that was filmed and released as WWII was drawing to a close. The story is about the Filipino people and their fight for freedom from their Japanese oppressors. This is very obvious patriotism with the Japanese portrayed as cowardly murderers and the Americans as noble freedom fighters. John Wayne stars as Colonel Joe Madden, the man selected to help organize the Filipino guerilla movement. His small company wreaks havoc on the Japanese forces in the Phillipines as the war progresses. The young Duke is very good in his role as Madden with Anthony Quinn also excellent as Captain Andres Bonifacio. Also starring are Beulah Bondi, Lawrence Tierney, Vladimir Sokoloff, and Paul Fix. This is a very good movie that shows a part of the war many people do not know about. Check this one out to see an exciting, well-told, adventure story. Classic Duke!

Back to Bataan: The Last of the
With the end of the Second World War close at hand, Hollywood was taking no chances as it continued to churn out patriotic, flag-waving war movies, most of which featured John Wayne. In BACK TO BATAAN, director Edward Dmytryk does showcase Wayne along with Anthony Quinn as both pay homage to the inspired loyalty of the Philipino men and women who risked their lives to aid the Americans against the Japanese. BACK TO BATAAN is an old-fashioned war film, of the kind that has not been filmed since then. In addition to the heroics of the American leads, it features a sterling cast of slanty-eyed Japanese villains to boo and hiss and stalwart Filipinos to cheer. Phillip Ahn and Richard Loo (both ethnic Chinese) play moustache-twirling Japanese officers who speak fluent if not accented English as they spin out their lines of threats and entreaties backed by more threats. Vladimir Sokoloff, a veteran of scores of films, here plays an unassuming school principal who refuses to haul down the American flag when ordered to do so. He is hanged for that, but his body, cleverly draped by the Stars & Stripes, is an unabashed symbol of solidarity between American and Philipino. Ducky Louie, as the schoolboy Maximo, is equally heroic as one who could not spell 'liberty' correctly but whose death proved that he full well understood its meaning. What BACK TO BATAAN shows is Hollywood's contemporary paen to America that the patriotism that is nowadays derided as colonialistic and left-wing jingoistic was then seen as a necessary adjunct to a war that had the bad guys on one side and us on the other.

A so-so Hollywood war film...
A hearty, but hamfisted, formulaic WWII propaganda film about the liberation of the Phillipine Islands from the Japanese occupation, loosely based on contemporary history. Future McCarthy snitch Edward Dymytrk directs; a handsome young John Wayne is the white guy who organizes the guerilla resistence, and Anthony Quinn is cast in one of his many "ethnic" roles, as the grandson of a legendary Filipino political figure, who is now called upon to lead their people to freedom. Although there's plenty of "good neighbor policy" talk about the nobility and can-do spirit of the Filipino people, this jingoistic, bluntly-scripted film is mostly pretty patronizing... And of course, the "Japs" are just pure, conniving evil. The script is pretty action-packed, though... if you like shoot-em-ups, this is OK, if you don't think too much about it. Really nice B&W cinematography.

Realistic and Innovative Filmmaking
This is an excellent film about Filipino guerillas fighting the Japanese during W.W.II. A highlight of this film is the black and white photography of realistic combat scenes filmed by cinematographer Nicholas Musuraca and directed by Edward Dmytryk. These were exciting and ahead of their time. John Wayne as Colonel Joe Madden and Anthony Quinn as Captain Andres Bonifacio give inspirational performances. The cast also included Beulah Bondi, Richard Loo, Lawrence Tierney, Paul Fix and Vladimir Sokoloff. This is one of my favorite war films of the period. ... Read more

Amazon.com essential video

Set in the expanse of the Sudan desert in the midst of holy war, Khartoum (1966) plays like an attempt to work the Lawrence of Arabia magic on the (mostly) true story of eccentric British general Charles "Chinese" Gordon in 1884 North Africa. The magnificent opening desert battle suggests David Lean's epic sweep, at least until the film settles into a more modest story of political games, military standoffs, and a battle of wits and wiles between two fierce leaders. Charlton Heston plays the wily Christian soldier as cocky, unconventional maverick, and Laurence Olivier (behind heavy make-up and a thick black beard) is almost as good as his cagey nemesis the Mahdi, the Islamic holy warrior on a mission of annihilation. More talk than spectacle, the film falls short of Lawrence but is nonetheless a compelling story of colonial politics, cynical maneuvering, and the unconventional heroics of another colorful British maverick abroad. --Sean Axmaker ... Read more

Reviews (27)

Problematic yet entertaining
Any film sporting a cast including Charlton Heston, Laurence Olivier, Richard Johnson, and Ralph Richardson has to be a winner, right? Errr, maybe. Take a look at the 1966 epic "Khartoum." It's got all the elements of a Hollywood blockbuster made in an era when big screen sagas dominated ticket sales. Bombastic musical score? Check. Big name actors? Check. Lush, atmospheric vistas beautifully and tastefully photographed? Check. "Khartoum" has all these elements, including a kingly run time of 134 minutes. So what went wrong? Depending on your viewpoint, everything or nothing. Personally, I sort of liked this movie about British General Charles "Chinese" Gordon's excursion to the Sudan to fight off an Islamic fanatic named the Mahdi. Then again, I've never seen "Lawrence of Arabia," the epic of epics I'm told this movie tried to shamelessly rip-off. I've got a degree in history, so I always like to sit down and watch Hollywood attempt to do historical pictures. My background, unfortunately, doesn't encompass nineteenth century British politics, so I had to look at the movie from a purely entertainment level. From that angle, "Khartoum" is intriguing.

At the beginning of the film we see a contingent of British army regulars and local Arab auxiliaries wiped out by the fanatical army of the Mahdi (Olivier). This Islamic warrior seeks to throw the British out of the Sudan, capture the Suez Canal, and then launch a jihad against the western world. Enter Prime Minister William Gladstone (Richardson) and his cabinet. These politicians are quite concerned about the Mahdi's militant overtures. The threat of losing their hold on the Suez could cause Gladstone to lose political power, and the public is having a field day about the lost army in the desert. Prime Minister Gladstone doesn't want to take a further risk by sending another army into the field. What will happen to him if that force disappears as well? Then Colonel J.D.H. Stewart (Johnson) comes up with a novel idea: why not send good old General Charles Gordon (Heston) down to the Sudan to straighten out matters? "Chinese" Gordon knows the ropes in the region since he helped abolish slavery in that part of the world a few years before. The Arabs just love this Brit, so why not make use of his talents to undercut the local support for the Mahdi? Gladstone rejoices, recognizing he has a way out of this sticky political predicament. He quickly convinces Gordon to undertake a secret mission into the Sudan.

Gordon knows the score, but decides to go anyway. Stewart goes along as an assistant and as a spy for Gladstone. The General and Stewart sail up the Nile to Khartoum, where they plan on arranging resistance to the fanatics. Things go awry almost immediately, as a former slaver whose son Gordon killed refuses to help the British. Then the Mahdi's forces box the General into Khartoum. The city faces food and supply shortages that require Gordon to launch a few small attacks in the desert while Stewart remains behind to fortify the city with a moat. After he meets with the Mahdi and learns how dangerous the guy is, "Chinese" Gordon realizes he'll need the help of the British if he wants to hold the region. Across the desert go the messengers, but Gladstone stonewalls in London, claiming Gordon went to the Sudan on his own accord and thus must fix the mess himself. The prime minister even goes so far as to accuse Gordon of exaggerating the threat facing the city. Eventually, Gladstone sends forces to save Khartoum, but gives the leader of this army strict orders to drag his feet. Lots of politics here, folks, but it all makes sense when you see it. Gordon stands tall at the end when the Mahdi launches a massive offensive against Khartoum. The final battle scene is an intense one and helped elevate my overall impression of the film.

"Khartoum" does slightly drag in spots, namely when all the political wrangling between Gordon and Gladstone takes place, but it is still fun for viewers who like dialogue heavy films. Besides, it isn't as though there's no action going on-there just isn't enough to satisfy viewers who found other Hollywood epics so much fun. You want non-stop action, watch "Zulu." You want to think a little bit about the machinations behind the imperialism, give "Khartoum" a shot. A better argument of the inferiority of this film could easily be made concerning the other elements of the story. The performances tend towards the uneven, sadly, as Olivier hams it up as the bass voiced Mahdi. He's barely recognizable behind all that shoe polish make-up and thick beard. Heston imbues his depiction of Gordon with a certain wryness that occasionally appeals but too often feels out of place. Moreover, his British accent is the least convincing one I have heard in a long time. Richardson and Johnson don't have much to do in their roles, and don't get the amount of screen time allotted to Olivier and Heston. "Khartoum" works, ultimately, but with serious reservations.

The DVD version of the film contains only a trailer as an extra. The restored print looks great, and that brassy musical score booms wonderfully. I'm not sure I can recommend actually buying this movie. If you like films about the Middle East, the British Empire, or epics than I'm sure you would want to add this one to your collection. I suggest a discrete rental and then a decision. I can say that I would watch this film again, if for no other reason than to see that cool landmine device Gordon cooks up with a pistol and a length of primer cord. Enjoy!

"out of the vast, hot, African nowhere..."
Though the historical events in this film took place in 1884-85, there are aspects of it that remind one of today's headlines; this is a sadly underrated film, with a fantastic cast, massive battle scenes, and a beautifully written script about an extraordinary man.
There are scenes that take "artistic license", but the film is quite accurate in its facts on General Gordon; a military genius who hated war, a deeply religious man who worked to end slavery, and who fell in love with the desolate scorching sands and the people of the Sudan.

The pairing of Charlton Heston and Laurence Olivier is fabulous, and their scenes together are riveting. Heston is gaunt in this film, to closer portray the slightly built Gordon, and speaks with a subtle but excellent English accent; Olivier is the fanatic who calls himself The Mahdi ("The Expected One"), waging a holy war with his followers to destroy anyone who opposes his beliefs, with the aim of conquering the world for his fundamentalist faith.
Other wonderful performances come from Richard Johnson as Col. Stewart, Ralph Richardson as Prime Minister Gladstone, Nigel Green as Gen Wolseley, and Johnny Sekka is a delight as Gordon's servant Khaleel.

After British-led Egyptian forces are massacred by The Mahdi's insurgents, the British government asks Egypt to give up the Sudan, and General Gordon is called to evacuate the European and Egyptian civilians from the Sudan; he stays to ward off the terrorists and the siege of Khartoum takes place.
The sweeping panoramas of the desert and the Nile river are sumptuous (cinematography by Edward Scaife), and the Frank Cordell score is terrific, though it owes a bit to Maurice Jarre's music for "Lawrence of Arabia"; released 6 years earlier, "Lawrence" has some comparisons to this film, as they are both about adventurous men of courage who felt comfortable in Arab lands.
This film sparked my imagination and made me want to know more about Gordon's fascinating life and the history that surrounded him, and it is one I could watch repeatedly. Total running time is 134 minutes.
"...but there is this: A world with no room for the Gordons, is a world that will return to the sands".

One of Chuck's best
Before he was NRA junta chief and in between making movies where a planet of apes evolved from men and Soylent Green was people, Charlton Heston was a pretty damn fine actor. His performance is pre-"method" but commanding, and he definitely holds his own in all the scenes with Olivier.

This film is based on the actual seige and capture of Khartoum in the Sudan in 1884. The events are of couse slightly disorted (as usual) but the essence of the story is correct. I don't think the box office reciepts would have been too good if they actually showed Gordon (Heston's character) as being 5'2" in boots. The real story is rather chilling and sad but the film manages to make it inspiring to a point, the situation being one where victory may be impossible but heroism, a willingness to fight the "good fight", is not.

As to the quality of the disc itself, there are no extras except the trailer. The sound quality is merely ok, but the picture transfer is beautiful. A+ on that count. If you saw the recent film of "The Four Feathers" I would recommend this film over it. It is a little leisurely in pace ealy on but it is well crafted and very well written.

Unimpressive
This isn't Charleton Heston's best work by a long-shot. His acting is hardly convincing as General Charles Gordon. The cinematography is decent but there seems to also be an absence in character depth throughout the movie: there is also little action.

Epic movies about the colonial era in Africa are never easy: this movie just doesn't do it. The best role played in the movie was that of "The Mahdi" by Laurence Olivier, however, he is hardly a convincing moor. All of the scenes just seem to fall short in climax or tension for this sort of drama.

The failure of the movie also lies in its attempt to simplify the complexities of the time: the script writer failed to grasp te culture of the epoch and this is made evident in the movie. As a result, the dialogue is hollow and the action dull. Perhaps worth renting for those who are admirers of either Heston or Olivier but there isn't much to own here.

EXCELLENT!!
Excellent DVD transfer of one of the great epics of the 60's! I was shocked on how clean the print was with very few blemishes to be found. This is the best I've ever seen this movie look. If you love epics-BUY THIS TODAY! ... Read more

Reviews (13)

A perfect companion to my FAVORITE movie!
My husband and I have seen The Whole Nine Yards at least three dozen times, it is absolutely hysterical! So when the sequel came out we rushed to see it and were not disappointed! I LOVED this movie! I laughed so hard I was in pain! However, the movie won't mean a thing to you if you haven't seen and loved the first. It is a dark comedy with twists and turns that keep you guessing. (What is up with the people that say it was confusing! Yes, you actually have to pay attention and maybe even see it twice!) Bruce Willis and Matthew Perry make an incredible team. My only complaint is the crude language & sex jokes were over the top. (So NO kids around for this flic.) So if you loved the first this is a MUST SEE!

A great movie
This movie was really good. The Whole Nine yards was an instant classic and now that i waited soo long fot this one. I'm glad it was good. Just as good as the first. I highly recomend that you buy it.

Almost as rib-tickling as "Taxi Driver"
At last! "The Whole Ten Yards," that long-awaited, eagerly anticipated sequel to "The Whole Nine Yards," is finally here. Let's just pray no one is seriously hurt in the stampede to the video store.

What's that? You honestly haven't been on pins and needles for the past four years, dreaming of the day when Bruce Willis and Matthew Perry would once again share the screen? You're not alone: "Ten" is another pointless sequel that can be tossed in the "thanks, but no thanks" bin, alongside "Analyze That," "Scooby Doo 2: Monsters Unleashed" and the blink-and-you-missed-it "Dirty Dancing: Havana Nights."

"Ten" deserves at least passing mention, however, as one of the sloppiest pieces of hackwork to be put out by a major studio recently. In fact, this flaccid comedy's only laughs come from its sheer ineptitude.

Check out the scene in which a character's cigarette is lit in one shot, then is miraculously unlit seconds later and relit again a moment after that. Or how Perry drives home at sunset, arrives at his home in darkness and escapes a few minutes later into mid-morning light. Did editor Seth Flaum make mincemeat out of this movie, or did he merely splice together the scrambled footage director Howard Deutch turned in?

Willis returns as hired gun Jimmy "The Tulip" Tudeski, now living a quiet life in Mexico with wife Jill (Amanda Peet), whose own career as a killer isn't working out as smoothly as she hoped. They both get a chance to exercise their trigger fingers again when Cynthia (Natasha Henstridge), the wife of dentist Oz Oseransky (Perry), is allegedly kidnaped by the henchmen of fresh-out-of-prison mobster Lazlo Gogolak (Kevin Pollak). That crime sets the stage for Oz to become his hyperactive, accident-prone self once more -- and the sight of Perry taking pratfalls lost its novelty long ago -- and for Jimmy and Jill to trade insults and threats almost continually, as if they were playing in a kind of low-rent production of "Who's Afraid of Virginia Woolf?" with revolvers in place of the overflowing glasses of booze.

Ponderously paced and atrociously written, George Gallo's screenplay is so incoherent and inconsistent it might have been pasted together from the rough drafts of four completely different storylines. While Oz remains a blithering dolt from start to finish (and we're expected to believe that a go-getter like Cynthia somehow finds this incredibly sexy), everyone else's personality seems to change with whatever the scene requires. Much is made of Jimmy wearing a skirt, bunny slippers and a headscarf and behaving like Martha Stewart in the beginning of the film, but those eccentricities evaporate quickly and never re-appear.

As for humor, Gallo offers such rib-ticklers as a little girl with a foul mouth, a crook who mispronounces every other word he says, and the sight of Jimmy beating a dad unconscious while his young son watches. A shaven-headed Willis grimaces and grits his teeth through the entire film, making Jimmy about as adorably wacky as Travis Bickle. And why not? After all, "The Whole Ten Yards" is almost as rib-tickling as "Taxi Driver."

"The Movie Nobody Wanted," or "They Made a Sequel to WHAT?!"
The only reason I gave this movie even ONE star is because there was no option for zero, or even better, "negative stars." (a little help here, Amazon?) Anyone who thinks "The Whole Nine Yards" deserved a sequel needs to seriously reconsider their taste in movies. No offense, but the original was a crapfest with the only redeeming quality being able to see what Bruce Willis looks like when he acts while asleep. And in both movies, Matthew Perry's spastic re-hashing of REALLY bad Jerry Lewis only highlights why the "Luckiest L'il Hack" should count his blessings that he was allowed to ham it up on "Friends" for the whole ten years. (...)"You might remember me as Matthew "Chandler" Perry... and could this mop BE any more absorbent...?" (...) Buy "Die Hard" instead.

good but absolutely confusing
I watched The Whole Nine Yards a few weeks ago and thought it was fairly funny - but confusing. Now I have watched the sequel to this, I realise it is funny at times and absolutely confusing. Matthew Perry (NBC's "Friends") and Bruce Willis (Pulp Fiction) make a great comic act in this movie (rated 12A), with some clever lines and personality-changes - as profesional killer of 22 people, Jimmy "The Tulip" Tudeski changes after marrying hitwoman-wannabe Jill, and turns into a motherly, house-cleaning man. Oz - the ex-next-door neighbour thinks about settling down with his wife who is pregnant. This lasts about 2 minutes as Cynthia - his wife - gets kidnapped by the father of the person Jimmy, Oz, and Jill killed. Everything goes haywire as they try to hatch a plan to save her, just for Oz to learn some surprising and extremely confusing news. Whilst this film is good, it seems the writers just wrote it down on some paper, and then thought to themselves afterwards "there was hardly much confusion in this", then adds it in absent-mindedly, ruining the plot of the story, just to make it so confusing you think your head might just fall off. Overall, an OK film, but if I rated "Nine Yards" four stars, it must mean that this is not as good! ... Read more

Amazon.com essential video

When Jack Butler (Michael Keaton) loses his job at an auto factory, he expects to quickly find another. But instead, his wife Caroline (Teri Garr) starts working for an ad agency and Jack ends up taking care of the house and kids. He soon runs afoul of shopping etiquette, a voracious vacuum cleaner, and he can't even drop his kids off at school properly. He starts losing his pride and letting himself go. He stops shaving, drinks at all hours, and watches soap operas. And not only does a predatory divorcée (Ann Jillian) have her eye on him, Caroline's new boss (Martin Mull) has more than business on his mind. Will their marriage survive? What makes Mr. Mom work isn't its role-reversal premise, but its clever off-the-main-plot scenes like the obstacle course at the company picnic, where a footrace with swim fins is set to a variation on the theme to Chariots of Fire; a poker game using discount coupons for money; or a traumatic, soap-opera-influenced dream Jack has when he realizes his life is going down the toilet. This is the first starring role for Michael Keaton, who went on to star in Beetlejuice and Batman; he makes the most of both its comic and sentimental side. The script, incidentally, is written by John Hughes, who later went on to write and direct The Breakfast Club and Home Alone. --Bret Fetzer ... Read more

Reviews (24)

Cute!
Mr. Mom stars Michael Keaton as a guy who loses his job and is having trouble finding a new job but his wife played by Terri Garr finds a job and he has to stay home and take care of the kids and do the housework etc, it is a cute movie with some funny and charming scenes and Michael Keaton and Terri Garr are both good and the kids are cute. I give it 3 stars because even though it's a cute movie it's a little dated and it's not as cute as some other similar movies but I still think it's worth watching at least once so I recommend renting this and then seeing if you like it enough to buy.

Keaton is masterful
After he burst off the screen in Night Shift, Michael Keaton was given his first leading role in this film. He plays Jack Butler who designs and builds cars for a big Detroit auto maker. Due to cutbacks, he is laid off from his job. His wife, played by Teri Garr, has been a housewife to their three kids and hasn't worked in years. Jack and her make a bet as to who will get a job first. Of she does and Jack is forced to stay at home and watch the kids. He obviously has no idea how tough the job is and the film goes through his transformation from an inept house dad to a growing into the role. Some hilarious scenes include a trip to the supermarket gone awry, Jack's addiction to soap operas and his confrontations with his wife's smug boss played with oily charm by Martin Mull. Teri Garr is very funny as is Ann Jillian as her best friend. The real star is of course Mr. Keaton, who shows he cannot only be funny, but touching and caring. a first rate performance.

A Delightful Family Film
Mr Mom is a delightful family movie reversing parental roles where the man works and makes money and the woman stays at home and raises children. It all starts when Jack loses his job at a Michigan car plant caused by a shrewd accounting, who wants to improve financials by downsize personnel. The movie protrays the accountant as dishonest, cheap negotiator; who shifts blame by using a job enticement to get Jack too appear before a corporate board too take blame for losses. The accountant tries to manipulate Jack into taking responsibility for a sudden drop in profits and increases in costs, in Jack's old division. The Accountant wants Jack and his friends too confess and get their jobs back, 1/2 price. Jack confronts senior management and reminds them, he doesn't work for the company, anymore. The mood shifts and the accountant trys to pursued Jack too confess of siphoning funds for his own purposes; Jack wants his job back, however, he knows the truth is more important, so he stands up to the accountant and tells management, when he was there, costs were down and profits up. The movie pokes fun at the company's senior management attempts too creating short term profit gains by layoff staff and ignoring the effectiveness of middle manager, in particular Jack to keep costs down and production up. Its difficult to know, how Jack really helped the company. The Rocky analogy was a perfect setup for "Gung Ho". Revelation of Jack's skill will be discovered in "Gung Ho".
Jack's wife Caroline uses her connections too get a job working for an advertising firm tasked with creating an advertising campaign for Schooner tuna. Caroline brings Schooner back to selling "Americanism", "we at schooner tuna care", and "during this period of economic crisis, Schooner will drop the price of each can of tuna, 50 cents". Caroline is smart, if you want to move inventory, drop price; profit margins are less but product starts to sell, the cost of good don't increase stablizing against further losses, sales increase, and inventory decreases. I would say Caroline was pretty smart, maybe much smarter than Jack.
Caroline experiences the corporate climb, sexual harshment, hardline politics, long work days, and starts missing experiences with her children. Jack tells her not to forget what is most important. Jack experience mid-life crisis, throws a race against Carolines boss, drinks too much, gambles with his new female friends, gets confused while multitasking (clothes, TV maintanence, changing diapers, school dropoffs, and Soap operas). Jack becomes Rocky, cleans up his home, task command of his life, and makes a come back.
The movie is very delightful. The cast bringing humor, empathy, and friendship to the big screen.

Delightful family movie
Mr Mom is a delightful family movie reversing parental roles where the man works and makes money and the woman stays at home. It all starts when Jack loses his job at a Michigan car plant caused by a shrewd accounting, who wants to improve financials by downsize personnel. The movie protrays the accountant as dishonest, cheap negotiator; who shifts blame by using a job enticement to get Jack too appear before a corporate board too take blame for losses. The accountant tries to manipulate Jack into taking responsibility for a sudden drop in profits and increases in costs, in Jack's old division. The Accountant wants Jack and his friends too confess and get their jobs back, 1/2 price. Jack confronts senior management and reminds them, he doesn't work for the company, anymore. The mood shifts and the accountant trys to pursued Jack too confess of siphoning funds for his own purposes; Jack wants his job back, however, he knows the truth is more important, so he stands up to the accountant and tells management, when he was there, costs were down and profits up. The movie pokes fun at the company's senior management attempts too creating short term profit gains by layoff staff and ignoring the effectiveness of middle manager, in particular Jack to keep costs down and production up. Its difficult to know, how Jack really helped the company. The Rocky analogy was a perfect setup for "Gung Ho". Revelation of Jack's skill will be discovered in "Gung Ho".
Jack's wife Caroline uses her connections too get a job working for an advertising firm tasked with creating an advertising campaign for Schooner tuna. Caroline brings Schooner back to selling "Americanism", "we at schooner tuna care", and "during this period of economic crisis, Schooner will drop the price of each can of tuna, 50 cents". Caroline is smart, if you want to move inventory, drop price; profit margins are less but product starts to sell, the cost of good don't increase stablizing against further losses, sales increase, and inventory decreases. I would say Caroline was pretty smart, maybe much smarter than Jack.
Caroline experiences the corporate climb, sexual harshment, hardline politics, long work days, and starts missing experiences with her children. Jack tells her not to forget what is most important. Jack experience mid-life crisis, throws a race against Carolines boss, drinks too much, gambles with his new female friends, gets confused while multitasking (clothes, TV maintanence, changing diapers, school dropoffs, and Soap operas). Jack becomes Rocky, cleans up his home, task command of his life, and makes a come back.
The movie is very delightful. The cast bringing humor, empathy, and friendship to the big screen.

Somebody must've died...there's a limosine out front.
If you don't own this movie, get it. It is a classic. The characters are believable and real and the comedy is perfectly blended between real-life/palusible situations and that intanglible movie quality that makes movies like this great. Kenny and Alex remind me...of me...when I was their age. Jack Butler, Carolyn Butler, Ron Richardson, Joan...all fantanstic characters. In my opinion, movies of the 1980's (character/plot driven movies) don't get any better than this. My one critique is that the male stripper scense seem a little out of place. Yum Yum Tuna Bits! ... Read more

Amazon.com

A striking story of a young woman seeking her mother in the depths of the prison system. Treasure Lee (Yolanda Ross) is a tough juvenile offender who has never known her mother. When she learns that her mother, known as Brownie (Davenia McFadden), is in a nearby prison for life, Treasure attacks a fellow inmate to get transferred there. Once she arrives, she and her mother soon bond, and Brownie puts Treasure to work dealing drugs as part of her team. As Treasure gets in deeper, she discovers that her mother isn't everything she pretends to be. This potent HBO movie, directed by Cheryl Dunye (The WatermelonWoman), is tightly written and edited, and features remarkable performances from a cast of unknowns, including Rain Phoenix. Explicit sex and violence makes for a gritty portrait of prison life more real than HBO's acclaimed series Oz. --Bret Fetzer ... Read more

Reviews (3)

REAL, WONDERFUL, GRIPPING AND NASTY!
I LOVED THIS FILM!
THE MOVIE WAS RAW,AND IT LEFT YOU GUESSING, UNTIL THE END!
THE GIRLS GOT, DOWN RIGHT NASTY, BUT, I GUESS, THAT IS WHAT HAPPENS, IN THE PRISON, LIFE!

Gritty, Realistic, Sometimes Hard to Watch
What makes this movie a standout is that it all seems real. This is no backlot prison stage with sqeaky clean actors trying to play real grit. This is truly a down and dirty portrayal of women's prison life. But despite the often disturbing depiction of this (the unabashed violence; and one scene with a prison guard and a speculum), that's not really what this movie is about. It delves deeper into one young woman's dream/fantasy of recapturing the archetypal missing mother and chronicles her transformation from a girl who knows what she wants (to find her mother, Brownie, who is locked up in the federal pen) to a young woman whose self-discovery becomes her ultimate grief.

The movie is filled with outstanding performances (Rain Phoenix, for one is phenomenal), good pacing and production,and good storytelling. It falls short because I believe it does perpetuate some stereotypes many may have about women's prisons and at times, doesn't seem to be able to move beyond these familiar, formulaic images. I would have liked to have seen something I haven't seen in prison movies before.

The DVD has chapter selection capability and is presented in widescreen format. However, if you are looking for special features, this is about it. I would have liked to have seen a "behind the camera" featurette or a director's commentary on this disc. Cheryl Dunye is a talented, talented director and not to have heard directly from her about this movie is a shortcoming.

I recommend this movie very highly. It's not one you'll want to watch over and over so before you buy, consider renting it first. This movie is like a fine meal, it's good the first time around but you wouldn't want to eat this way every night.

Excellent
How the film 'Slam' with Saul Williams took a look at the prison system with dramatic realism this film does the same, focusing on the experience from a female perspective.
Addresses a myriad of issues from prison as a modern day slavery system to survival and homosexuality.
One of the realest films I've seen in a long time. The star, Yolanda Ross is beautiful and strong and the underground hip hop artist Medusa is captivating. ... Read more

Amazon.com essential video

To condemn Dressed to Kill as a Hitchcock rip-off is to miss the sheer enjoyment of Brian De Palma's delirious 1980 thriller. Hitchcockian homages run rampant through most of De Palma's earlier films, and this one's chock-full of visual quotes, mostly cribbed from Vertigo and Psycho. But De Palma's indulgent depravity transcends simple mimicry to assume a vitality all its own. It's smothered in thickly atmospheric obsessions with sex, dread, paranoia, and voyeurism, not to mention a heavy dose of Psycho-like psychobabble about a wannabe transsexual who's compelled to slash up any attractive female who reminds him--the horror!--that he's still very much a man.

Angie Dickinson plays the sexually unsatisfied, fortysomething wife who's the killer's first target, relaying her sexual fantasies to her psychiatrist (Michael Caine) before actually living one of them out after the film's celebrated cat-and-mouse sequence in a Manhattan art museum. The focus then switches to a murder witness (De Palma's then-girlfriend Nancy Allen) and Dickinson's grieving whiz-kid son (Keith Gordon), who attempt to solve the murder while staying one step ahead (or so they think) of the crude detective (Dennis Franz) assigned to the case. Propelled by Pino Donaggio's lush and stimulating score, De Palma's visuals provide seductive counterpoint to his brashly candid dialogue, and the plot conceals its own implausibility with morbid thrills and intoxicating suspense. If you're not laughing at De Palma's shameless audacity, you're sure to be on the edge of your seat. --Jeff Shannon ... Read more

Reviews (76)

It's maybe flawed but it has an Excellent Direction.
When a sexually unsatisfied attractive older woman (Angie Dickinson) decides to cheat on her husband for a One Night Stand. Then she's got killed by a unseen murderer. A High-Priced Callgirl (Nancy Allen) is the only witness to the killing. When no one believes her. The dead woman's Son (Keith Gordon) decides to help the woman to trap the killer.

Written and Directed by Brain De Palma (Sisters, The Phantom of the Paradise, The Untouchables) made a clever, razor-sharp thriller but the film suffers some predicability moments that puts it down a bit. There's strong performances by Micheal Caine, Dickinson, Allen and Gordon highlight this film. It's almost perfect in it's own way. Palma does homage to the another Hitchcock's film-Pyscho and Palma's his own film-Carrie at the End. This has excellent cinematography by Ralf D. Bode and a chilling score by Pino Donaggio. DVD has the R-Rated and the Unrated Version in this Special Edition. This has an good anamorphic Widescreen (2.35:1) transfer and an fine Digitally Remastered-Dolby Digital 5.1 Surround Sound, also with the Original Mono Soundtrack. DVD's Extras are great, including an 45 Minute Documentary, Three Featurettes, Trailers and More. This Thriller is Certainly Unique, Do Not Miss It. Panavision. Grade:A-.

An entertaining, occasionally very suspenseful thriller.
Director Brian De Palma has never helmed an original film his entire career, but let's face it, he's just as good as anybody else when it comes to creating palpable suspense, which is what makes his more blatant rip-offs immensely watchable. Dressed to Kill is one such example. Taking a few cues from Alfred Hitchcock, the film is an erotic thriller that certainly features its sexy moments, and also has the power to disturb as well.

Angie Dickinson stars as Kate Miller, a sexually dissatisfied wife (though quite loving mother) who needs some things to spice up her personal life. She relates her problems to her psychiatrist, Dr. Robert Elliot (Michael Caine), to the point of almost prodding him to sleep with her, but he refuses. On a random day in an art museum, she encounters a mysterious man with whom she plays a little game of cat-and-mouse. Following him to a cab, they enage in a tryst inside the taxi, all the way to his apartment, where they proceed to go at it for several more hours. Then as she awakens to leave, she finds out (through a little note by the health department) he's got STD's! In a panicked state, she runs to the elevator, but is then brutally murdered by a tall, blonde woman brandishing a razor blade. The rest of the film focuses on Miller's son, Peter (Keith Gordon), who teams up with a gold-hearted prostitute (Nancy Allen) to find his mother's killer.

Dressed to Kill doesn't get off to the best start. For the first half-hour, the sexual frustrations of this middle-aged woman are far less than captivating, and until the elevator scene, this is a snoozer. But let me tell you, the remaining 2/3's or so of the picture is often first-rate entertainment, delivering a lot of suspenseful moments and shocking violence.

The film grew more interesting when it focused on the relationship between Gordon and Allen. Both deliver good performances, and there's a sort-of non-sexual chemistry between them that works superbly. Too bad De Palma doesn't really focus on this interesting couple until the last half-hour.

The last five or so minutes are among the film's most suspenseful (and you get to see Allen naked!), though I think we're all in a little agreement when we say that the final shock is a bit gratuitous. Also excessive is the film's resemblance to a certain Hitchcock film. Even without that resemblance, though, Dressed to Kill would still have been predictable. I mean, come on, I knew the identity of the killer in a heartbeart. You'll figure it out just as fast, too.

As an erotic thriller, Dressed to Kill isn't as fluffy as films like Wild Things, Color of Night, or Basic Instinct, though it also happens to be less steamy and sexy than the latter two. Actually, as I said before, the focus here is to disturb, and the movie doesn't do such a bad job of that.

Pino Dinaggio's score is chilling and among his better works. De Palma goes with his usual camera work, meaning there are a lot of uninterrupted shots and split-screens, the latter of which fails to build suspense as it's meant to. A lot of people see Dressed to Kill as a "have safe sex" message, which I could kind of agree with, even though Dickinson's character would still have been offed in a horrible manner even without that tryst.

The first of De Palma's two erotic thrillers, Dressed to Kill happens to be the weaker of the two. Yeah, it's often suspenseful and entertaining, but Body Double stands out more, as that film's suspense sometimes reaches heights of exhilaration. My advice, take a look at both and decide for yourself.

Glossy, meaningless, and occasionally scary
Brian de Palma knew his 1970s audience. When choosing what film to see at the cinema (if you had a choice in those days), it was difficult for many men to persuade their girlfriends to choose an out-and-out erotic movie. (The cinema scene in 'Carry On Camping' gives you some idea of the prevailing attitudes.) So, much like the Hammer movies, de Palma wrapped up the sex in a glossy horror thriller coating. Bizarrely, girls found it much easier to tell their mums that they'd be going to see 'The Texas Chainsaw Massacre' than 'Swedish Nurses Get Hot', or whatever.

But watching this movie with 25 years of hindsight, when people tend to be more open about sex, you have to wonder what was the point of this film, and what was an actor as good as Michael Caine doing in it. Angie Dickinson, another highly paid actress of the era, is also in it, but frankly her death is so badly acted that you could fairly say she deserved this film.

De Palma is a great user of that "Actually it was all a dream" device that we're warned to avoid in creative writing classes. So we get two dream sequences -- each with a central shower scene -- which are both flimsy excuses to get the clothes off his leading ladies (Dickinson and Nancy Allen). Despite the partial use of a body-double for Dickinson, these are attractive, gripping scenes, and probably the highlights of the movie.

The less said about the geekish son and the police detective, the better. Allen's redemption from NY hooker to sleep-alone companion (in chintz night attire!) to the son is also less than convincing.

GOING UP?
DRESSED TO KILL is very much like "Psycho" in its opening segments. Here we meet the lovely Angie Dickinson who feeling sexually unsatisfied engages in a cat and mouse game with a stranger in a museum. She ends up having wild sex with him in a cab and then off to his apartment for an afternoon of fun. That fun turns sour however when she finds a doctor's report that is disturbing in itself, and then she forgets her wedding band and so after intending to leave, she goes back up and meets..well...it's just like Janet Leigh in Psycho. Your heroine is offed in the first thirty minutes. The killing scene in the elevator is extremely disturbing and brutal, and made even more so in the unrated version.
DePalma has often been accused or ripping off Hitchcock, but I don't think that's the case. Always using an imaginative twist as his fulcrum, DePalma gave us some really intense, chilling thrillers, heavy at times on sex and violence, but nonetheless, hypnotic and mesmerizing.
The cast performs adequately, although Caine seems a little disinterested and Dennis Franz plays his crude cop for the hundredth time. Nancy Allen and Keith Gordon are fine, but Angie really steals the film, even if only briefly. Without any dialogue, she shows how lonely and "hungry" she is while chasing this stud around the museum. And as with Leigh, one can't help but feel sorry for their untimely demise.
Not one of DePalma's best, but still a deserving thriller.

one of my all time favorites!
One of my top ten favorite movies along with Carrie also by Depalma. i won't say too much about the story without giving too much away. basically it is about a mother, her son,a hooker, a psychiatrist, and a woman in sunglasses. These people all get caught up in a murder mystery where all is not as it seems. several scenes will have you leaping from your seat. it is interesting that in this movie and carrie depalma closes with a dream sequence. and both movies have beautiful music as well. Angie Dickenson, Nancy allen, Michael CAine all do a great job here. highly recommended. and i am not kidding that sometimes when i get on elevators i get a chill thinking about this movie. im sure i am not the only one. ... Read more

Reviews (39)

Doris Day & John Raitt, Wonderful in "The Pajama Game"
Doris Day, without a doubt, was the greatest female musical/comedy star Hollywood ever produced. I know that Judy Garland fans will disagree, but, I like Doris better.

When "Pajama Game" was brought to the screen, Doris Day was given sole star billing, of course, with Raitt, Carol Haney and Eddie Foy, Jr. getting secondary rankings. Mr.Raitt had top billing on Broadway, but this was Hollywood.

Miss Day was fascinating as Babe Williams, head of the grievance committee at the Sleep Tite Pajama Factory. She falls in love with the new forman, played by Raitt. A 7 1/2 cent raise is at stake for the workers, with management playing dirty tricks.

The musical score is great. Doris Day was in wonderful voice which was clear and poinant as she reprised that marvelous standard, "Hey There". "I'm Not at All in Love" was very entertaining with Day really showing us how a musical number should be done.

With Raitt, she does the standout "There Once Was A Man", and they both perform to perfection. What a great number!

The songs that were omitted from the original Broadway cast, were not missed here. I would love for Doris to have had another ballad, perhaps they could have written something special for the film version.

Carol Haney was fun as Gladys and danced up a storm with Bob Fosey's signature choreography in two highlights of the film, "Once a Year Day" and "Steam Heat.

Eddie Foy, Jr., Barbara Nichols, Rita Shaw and Thelma Pelish, all holdovers from the stage version added much to the proceedings.

Stanley Donen's direction was deft. This is one of his best pictures, but he never mentions it in documentaries on him. I don't understand why he consentrates on "Funny Face". This is a much better film.

Rivals ¿Calamity Jane¿ as one of Doris¿s best musicals
In The Pajama Game, based on the Broadway musical written by George Abbot and Richard Bissell, Doris Day plays Babe Williams, the head of the union grievance committee who fancies sexy out-to-prove-himself John Raitt, playing Sid Sorokin, the new superintendent of the "Sleep-Tite Pajama Company. Despite their differences, they fall in love and the eternal battle between man and woman ensues in this delightful musical comedy, with added intrigue between Hines, (Eddie Foy, Jr) the over-jealous efficiency expert, and girlfriend Gladys, (Carol Haney) the boss's private secretary. Set against the backdrop of a long-standing union/management dispute, the company is soon boiling over with all sorts of passions. An unlikely scenario that is never-the-less great fun with plenty of hit songs and dance numbers that carry you along with its energy. Choreographed by Bob Fosse, the film features such musical numbers as "Hey There, You With the Stars in Your Eyes," "Once a Year Day", "Small Talk", "Steam Heat," and "I'm Not at All in Love." Verdict: The Pajama Game rivals "Calamity Jane" and "Love Me or Leave Me" as one of Doris's best musicals.

Doris Day in a pajama-factory musical.
Very seldom seen Doris Day film. This one is a musical in color. Unusual and perhaps unattractive to watch because it is set in a shirt & pajama-making factory. Doris Day plays Babe Williams. She is the tough-cookie that's part of the grievence committee and goes by the rule book. After having to get both sides of the story after two men had a fight, the workers tease her that she will fall in love with the man she dislikes. But if you know any Doris Day film, she will be in love soon.I liked the railroad lot set, though and nighttime rain through the window is a nice shot. Not one of my favorite Doris Day films. May I suggest Billy Rose's Jumbo?

perfect except for doris
This amazing dvd is wonderful, put the overly peppy and smiley Doris Day is atrocious! Why could they not have put Janis Paige-The original broadway Babe- in the picture!

I GOT STEAM HEAT
The pajama factory setting is a little awkward and it doesn't really jive with the spirited song and dance numbers, which are constatly splendid. When the whole factory goes on a company picnic, you know this Broadway musical longs to be as big as "Oklahoma!", but is constrained by the very little framework of a labor dispute in a clothing factory. Still, you may be surprised to find the host of wonderful recognizable songs that originated from this musical, the cast is exceptional, and if you like Doris Day, well, you may find yourself in 'que-sera-sera' heaven. ... Read more

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Steven Seagal can consider himself lucky if he ever makes a better movie than this one, which was appropriately dubbed "Die Hard on a battleship" when released in 1992. Seagal handles the heroic duties with his usual wooden efficiency, but the movie's greatest assets are a punchy script and the scene-stealing performances of Tommy Lee Jones and Gary Busey. The two play leaders of a terrorist group who take over the venerable battleship USS Missouri during its final commissioned voyage. They're crazed psychotics who seize control of the ship's nuclear arsenal, but they don't know that Seagal--as the ship's cook, no less--is a former Navy hero, lurking in the shadows and waiting to spoil their nefarious scheme. Director Andrew Davis (The Fugitive) helms the action with skillful style, and as the cheesecake stripper who proves handy with a hand grenade, Playboy Playmate-turned-actress