Description

Relentless rogue cop "Dirty Harry" Callahan finds himself chasing a ritualistic killer to a rural Northern California town. When Harry is spinning his wheels, it's his new partner Horace Kind that steers him in the right direction. Together, they race to catch the killer in a head-on collision of good vs. evil. ... Read more

Reviews (29)

THE BEST DIRTY HARRY IN THE SERIES!
After the disappointing Enforcer from 1977, Sudden Impact is without doubt the best episode in the five Dirty Harry films - excellent storyline, well played soundtrack, well-used locations and of course a strong cast. The climax of the film is truly well staged and blends the taut, seriousness of the film throughout. The story of a rape victim seeking revenge on those that carried out the attack certainly brings the best out of Sondra Locke.

Once the film was released, Clint Eastwood was universally acclaimed for bringing such a delecate subject to the cinema. It was a gamble that had hansomely paid off.

Clint himself is on top form and plays it vintage style, like the first Dirty Harry. The best line has to be the:- "Go Ahead - Make My Day". Harry's dog - Meathead brings some light moments to the script as does his scene with Bradford Dillman.

Great support too from Eastwood film veteran - Pat Hingle.

It is no suprise that Sudden Impact is to this date the highest grossing Dirty Harry episode.

Harry's worst adventure.
After Harry lands on a mafia hit list he is sent to the small town of San Paulo (actually Santa Cruz, CA) to investigate the background of a murder victim. What Harry uncovers is a serial killer settling a score.

Clint Eastwood doesn't like repeating himself, so it is no big surprise that the Dirty Harry movie he directed resembles the others in the series very little. It is largely set outside of San Francisco and his character has little to do with the actual plot for the first forty or so minutes. The action is nicely handled, but the story's pace is turgid - thanks in large part to Joseph Stinson's sloppy and underdeveloped screenplay. When Eastwood revealed that Sudden Impact was turned into a Dirty Harry movie late in the rewrite game, I was not surprised. The tape holding his character into the story in first few reels is quite evident. Harry fans will want to have this in their collection, but I just don't think it is as fun or exicting as the other movies in the long running series.

Trivia - Bradford Dillman makes his second Dirty Harry appearance in Sudden Impact. This time out his character is named Captain Briggs, although he played Captain McKay in the 1976 entry The Enforcer. Briggs was actually the name of the vigilante team leader in the 1973 sequel Magnum Force. Whether this is a knowing wink to that thriller or just sloppy continuity, I am not sure. But I'm edging towards sloppy continuity myself.

Nearing the End of the Callahan Trail
This is the fourth of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiable values and unorthodox methods had remained essentially the same. The title of this film really makes no sense: None of the actions has a sudden impact. On the contrary, directed by Eastwood, the plot gradually develops to the inevitable climax. After still another controversial incident, Callahan is required to take an extended leave-of-absence and finds himself in a small coastal town where he meets Jennifer Spencer (Sandra Locke), a serious painter with even more serious emotional problems. Years ago, she and her sister were the victims of an especially violent rape; the sister remains comatose in an institution. Spencer is determined to locate and kill the rapists. One of them is the son of the local sheriff (Pat Hingle) who, for obvious reasons, discourages any interest in the case. He especially resents Callahan, "a big shot city detective" who attempts to investigate one of the several local murders.

Of special interest to me are two evil characters, Ray (Audrie Neenan) and Mick (Paul Drake), with whom Callahan has his final confrontation. Both are despicable and thus deserving of Callahan's singular application of justice. In this and other films, Locke's acting skills are clunky, at times almost laughable, especially when juxtaposed with the performances by Neenan and Drake. Bruce Surtees' cinematography is outstanding. His previous work includes Dirty Harry and Play Misty for Me (both in 1971) and The Outlaw Josie Wales (1976). He teamed up with Eastwood later with Pale Rider (1985). Surtees' excellent work plus several memorable scenes explain my rating which would have been higher, had the plot made more sense and had another actress (other than Ali MacGraw) portrayed Spencer. To me at least, both Callahan and the series are by now getting a tad long in the tooth.

Good movie
I really liked this movie and found it to be very enjoyable.

Good Plot is What Makes It Different
There is only one Dirty Harry movie for me, and that is the first one, the Don Siegel's version. The mixture of the first Dirty Harry is just too well (the charismatic Harry Callahan, the dangerous Scorpio, intense relationship between Scorpio and Callahan), that the other four only practically try to borrow Harry Callahan "tough-attitude" in a different background. I'm not saying this to say that the other sequels are bad, is just that i've seen those sequels more as a 'separate, different action' movie from the original Dirty Harry. Because i'm not expecting another Dirty Harry movie, but just merely a good action movie, then i'm not dissapointed nor feel betrayed when watching Sudden Impact. It has just the right thing that make this movie as a 'better movie' if compared to the previous Enforcer or Magnum Force...a good story, something that is rarely found in the present day action movie.

It told a story of a woman who avenge her sister by killing her sister's rapers...and here's where Harry Callahan steps in, not as Harry Callahan that we know in the good old 'Dirty Harry', but as a detective who have to face his inner morale question on the right of that woman to avenge her sister, and his obligation to arrest a murderer.

So to all of you who really want to see Dirty Harry, well go directly to the real thing..the first Dirty Harry. To all of you who want to see more action...well you have to see Magnum Force or The Enforcer....but for those who wish to see an action movie with a touch of good story, well here it is. Of course the action is there...and its a good one too (particularly the finalle shoot out in fun park near the beach)..there is also some mob issue that Callahan wanted to nailto add up more possibility for action sequence....and you can still have some good one liner's from Eastwood such as 'Go ahead make my day'..but all of those were not as 'heavy' as its two predecessor. But then again, the action and the story is balanced prety well, thus makes Sudden Impact is very enjoyable. Eastwood directing is moderate but sufficient...i'm in the opinion that this movie is far much better then Eastwood recent work, 'Blood Work'.

Recomended for those of you who like action movie with a better plot and deeper character, unrecomended for those of you who wish a 'total shoot out' . ... Read more

Description

A depression-era country singer hoping to make it to the grand oldopry before he dies of leukemia, helps his nephew through the rites of passage. ... Read more

Reviews (7)

Eastwood tries to sing country
In the early 1980's, Clint Eastwood tried a number of different characters. He had his ups and downs, and HONKEYTONK MAN is definately a down. Based on a novel, the movie takes place in the 1930's with Eastwood playing Red Stoval, an aging country singer trying to make it in the bars. He sest out on a trip to Memphis, hoping to make it big. His real-life son Kyle plays his nephew, who tags along to keep him out of trouble.

I give him credit for trying, but Eastwood CANNOT sing. He actually did a better job trying in PAINT YOUR WAGON then here. The movie is rather slow, with the occasional sleazy comment or action to hold your interest, which doesn't last long. One funny moment is when Red tells off a cop who is frisking him. Another is when he holds up a friend with a shotgun, (yes, he does carry a gun in this one briefly). By far the funniest part is where he takes his nephew to a brothel to help him lose his virginity! Still, the movie is depressing with Red suffering from TB throughout the whole film, and to see him waste away while singing doesn't make things any better. The cars are also not in date with the film. Wanting to be somebody is a good motive for still going on with the show, but he takes it too far, and any Eastwood fan would be rattled by the ending. HONKEYTONK MAN was a commercial disappointment, and I would sadly rank it as one of Eastwood's worst films.

Watchable, but horrid
Let me say straight off the bat that this is an enjoyable film in many ways. It moves along without ever boring, despite not having much in the way of dramatic highs and lows. The acting feels pretty natural for the most part, but not really believable for the place and time in which the movie takes place.

But there is a lot to complain about. First of all, Eastwood cannot sing at all. It's pretty embarrassing, and I'm a little astonished that he didn't have someone do this for him. It's not just because his voice is timid to the point of being characterless, or without any sort of natural projection or decent intonation. There are plenty of "way off" country singers I love and admire. It's more that his voice has no country in it at all - it's almost a more tepid and unaccented sub-sub-James Taylor sort of voice. Downright bewildering, especially when this film is meant to take place in the 30's, when country music was in its infancy and fairly crude sounding, recorded or live.

I notice one other reviewer mentions a cameo from Bob Wills, who entered into a coma a decade before the movie was made, and died eight years prior to the film. That's a hell of a cameo! Even if this "thirties" movie was meant to represent 1939, Wills still would have only been in his early 30s - which makes odd the fact that he's played as if he's at least in his 60s here, and performing a song that wasn't recorded until two decades later. (Kudos, on the other hand, for having an actor who actually worked with Wills play the part.) Ditto the clothing styles (a woman who performs on the Grand Ole Opry wears an outfit that wouldn't have been worn until roughly five decades later, performing a song that sounds like early 80s Barbara Mandrell - nothing even remotely within two generations of the period in which this movie takes place.) One could say it's this failure to get even the most basic period details correct that prevented this movie from having very much success. It's a largely comical adventure a la "O Brother, Where Are Thou", which plays around with a lot of cultural mythology - but "O Brother" could play even faster and looser with credible plot development largely because they captured the details of the time period so wonderfully well. Bear in mind that even the term "honky tonk" was not widespread until the 40s, and hardly used at all to describe a genre of music until the early 50s. That makes the title of this film and its general basis pretty suspect. It's ironic that the success of "O Brother" was largely in their use of "real" traditional music sounding like what it did at the time, not some weakened Nashville pap. Another point is that in the mid-30s the Grand Ole Opry wasn't anything like what it became in the 40s and 50s - Chicago actually would have been a better destination, as the WLS Barn Dance was really roaring then.

There's also the names - there was a Herman Arnspiger who played with Bob Wills and was by any account I've read, a pretty swell guy. Here he is a friend of Bob Wills, but a total lying scumbag robber thief trying to pimp an underaged girl. "Stovall", the name of Eastwood's character, was also the name of a guy who was one of country's great songwriters. (His name was Vern, not Red though). And the TB thing is kind of a conflation of the death of Jimmie Rodgers (or Woody Guthrie's cousin Jack, for that matter) - coughing between takes in his final recording session. I know people who assume this was based on a true story, and that's a shame, as some of the true stories of these country guys are far more compelling than this tale was.

I'm a young person whose musical interests extend largely to reggae / punk / 60s soul, so it's not like I'm an oldtimer complaining about how it really was. I sure wasn't there then. My point is more that when a novice classic country fan such as myself can see the gigantic flaws in research, there's a big problem.

My final word is that this is a fair way to spend a couple of hours, but probably a poor choice of things to spend your money on. Buy "O Brother" or Robert Altman's "Nashville" instead if you want something similar.

The Eastwood Team
I enjoyed the film very much over all.The acting was well done,which showed the skill of the Director in bring out the talent of each individual actor. I am not sure if the singing and guitar playing of Mr Eastwood was actually done by him or a professional country Western musician. I do think Marty Robbins contributed a great deal to the ending and perhaps it was in some part his sing and playing that inhanced Mr Eastwood in his part

I did wish that more scenes could have involved the radio stations of that error but that was not any detraction from the picture.

I am sure it is difficult for a parent to capture the attention of a son or daughter in a work setting for long periods of time. The very fact of how this film turned out is of special significance to the sucess of the relationship between father and son. Well done gentlemen!

Critics seldom know what people really enjoy
This wouldn't be the first time, I thoroughly enjoyed a movie that critics labeled as too-something-or-other. This is a great movie and apart from the usual Eastwood fare except for the 'gut-and-grit' exhibited by the lead character, Red Stovall, to accomplish his dream despite tuberculosis. As for down-grading Eastwood's singing ability, there are a number of country greats who lack melodic tone and volume but make up for it with style. (Truly unfortunate that critics can do the same!)

Buy and enjoy this movie; you won't be sorry.

Eastwood Sings Country.
Eastwood play uncle Red, a drifter trying to get to the Grand Ole Opry. Along for the ride is Eastwoods son Klye. ... Read more

Amazon.com

French director François Truffaut once said, "Our New Wave wouldnever have come into being if it hadn't been for the young Morris Engel, with his fine Little Fugitive." High praise indeed, and as Truffaut observed, this early milestone of American independent filmmaking had a powerful influence on such later French classics as The Red Balloon and Truffaut's own Les Mistons and The 400 Blows.

Codirected by Ray Ashley, Morris Engel, and Ruth Orkin, and photographed by Engel in New York during the summer of 1952, the film tells the simple story of a 7-year-old Brooklyn boy named Joey (charmingly played by nonactor Richie Andrusco), who flees to Coney Island after a mischievous prank leads Joey to believe he's accidentally killed his older brother Lennie. With six dollars in his pocket, Joey indulges himself with amusement rides and junk food, and as the weekend progresses, Lennie begins an equally adventurous search for his missing kid brother.

Winner of the Silver Lion award at the 1953 Venice Film Festival and Oscar nominee for Best Story, Little Fugitive was inducted into the prestigious National Film Registry in 1997. Making innovative use of a hand-held camera (which impressed Engel's friend Stanley Kubrick, who used the same equipment for his debut feature Fear and Desire), the film favors image over dialogue, and unfolds with timeless and universal appeal. A pleasure from start to finish, Little Fugitive is a little masterpiece that you'll never forget. --Jeff Shannon ... Read more

Reviews (13)

A "Gem" Of A Movie!
When you first start watching this movie, you think the director has a budget of $10, but what you discover is a pioneer of the indendent film.This little gem is a whisical tale of 7 year old Joey Norton, who's dooped by friends into thinking he's shot and killed his older brother, Richie. Upon believing this, Joey exiles himself to Coney Island, with Richie in hot pursuit. The film does a wonderful job of catching the innocence of the 50's.If you can get them away from the computer, video games and MTV, I truly believe that even kids today would enjoy this little piece of "Americana"

A Genuine Time Capsule
I am of an age with the "Joey" portrayed in this movie and used to hang around in Coney Island of the era, albeit a little later (1957 vs. 1953).

Coney Island in the '50s was a faded resort. Its streets and back alleys contained the ghosts and survivals of a more vibrant era. What makes this movie remarkable is the extent to which it captures not only the appearance of the area but the way it FELT for a young kid encountering its sights and people. I cannot find a single wrong note or unfamiliar or contrieved situation, at least so far as Coney itself is concerned.

Unfortunately, the plot is so thin that it might have been better to dispense with it altogether, though I suppose it was necessary, especially in the '50s, to explain why an eight-year-old was wandering unescorted through a sometimes dangerous area.

I won't quibble about the plot too much. I am grateful that, just like some of the silly old silent comedies that gave us glimpses of Luna Park and other disappeared pieces of history, future generations get a chance to "walk" through another era with a minimum of affectation or interpretation.

I was moved not to give five stars as I believe the extra star would only have been expressing my nostalgia. For the film alone I might have been inclined to give it three, but more knowledgeable people than I attest that this was a groundbreaking film, so "four" seems just about right.

Perfect...Absolutely Perfect.
Though this film is certainly not for all tastes, I have to say that it's definitely one of my all time favorites. I strongly recall watching it on PBS late at night as a child, and was overjoyed to rediscover it as an adult. It doesn't hurt at all, either, that I'm a HUGE fan of Coney Island history, and that this film is chock-full of 1953 footage of the park, back in the good ol' days.

The plot is incredibly simple - a young boy is tricked by his older brother and latter's unkind friends, into believing that he's committed murder. The boy runs off to Coney Island to take it on the lam, and, while there, learns a whole lot about the world. From finding out about the glory of 5-cent deposits, to (finally) riding a real pony, we see what's important in his little life, and see how he ekes out a survival for himself during his day and night away from home.

There is hardly any dialogue once he's in the park, and it's refreshing, really - almost a sensory experience through the eyes of a little boy. We are treated to a more innocent time - with very little effort, one can smell the odors of the boardwalk, taste the sweetness of a watermelon slice, and feel the sand beneath the feet. I haven't seen a film quite like this - it's truly magical.

For the Coney Island enthusiasts out there, the footage from the park is fantastic. It stands as a wonderful record of the past - the parachute jump, batting cages, food stands, a marvelous carousel, souvenir booths...it's all here, and it's incredible. If you haven't seen this film, you're missing out, and then some.

Overall, I can admit that this film isn't for all folks - it's slow-moving, quiet, and can drag along a bit - if you don't surrender to it, and take it at it's own pace. Once you've done so, however, you'll see how great a film it really is.

THIS WAS MY FAVORITE CHILDHOOD MOVIE
In 1953 I started school at PS 188 on Neptune Avenue in Coney Island. Each year, The Little Fugitive would be shown in the auditorium ...and every year I loved it as much as I had the year before ... I never forgot the movie and whenever anyone would ask my favorite film, even as an adult I would always mention it ... Several years ago when visiting NYC with my own children, after spending a day in Coney Island, eating at Nathans and going on the Cyclone, we wandered into a Manhatten video store and I was astounded to see it on a shelf. We immediately rented it and it was as wonderful in 1998 as it had been in the 1950s. My children loved it and continue to mention scenes from it today in 2003! A wonderfully charming film that goes right to the heart of childhood.

The premier examination of youth's existentialism
Check out all the other reviews for summaries and descriptions of this film. One thing lacking from every article I've ever read about this movie is the fact that it's an existentialist masterpiece. Fans of Sartre's *Nausea,* Camus's *The Stranger,* and Kafka's *The Trial* will find much territory here to mine. The existentialism of childhood has never been better represented. ... Read more

Amazon.com

The sixth Pink Panther comedy was the last to star Peter Sellers (the following film in the series incorporated previously unseen footage), and it was also the last in the series to show any signs of genuine inspiration. It's a weak entry in the Panther pantheon, involving a rather mundane plot about a "French Connection" drug deal that leads Inspector Clouseau--presumed murdered and now sleuthing incognito--to Hong Kong for a brash, slapstick finale that almost compensates for the routine gags that precede it. Sellers and director Blake Edwards are coasting along smoothly here, and some of the gags pay off in well-earned laughs--particularly with a clever nod to Dr. Strangelove when Clouseau dons a Toulouse-Lautrec costume. Another highlight finds Clouseau disguised as an old sea captain, complete with a leaky inflatable parrot (it looks more like a purple puffin) resting limply on his shoulder. But a later attempt to spoof Mafia kingpins is hardly up to snuff for a talent as original as Sellers, and Dyan Cannon lacks the comedic sensibility to make the most of her role as a druglord's vengeful ex-mistress. Some of the physical gags are amazingly elaborate, and it's still a riot to hear Sellers perfecting (or is that murdering?) his hilarious French accent, but while it's adequately enjoyable this movie makes you long for the glory days of the Pink Panther franchise. --Jeff Shannon ... Read more

Reviews (20)

Funny film, with a few faults
This movie in the Pink Panther series involves the Mafia, and Clouseau, is once again played by the talented Peter Sellers. This film is sadly, the last Pink Panther film he is actually alive in.

This film hardly has a plot, the only plot is that Dovier, a French buisnessman, wants Clouseau out of the way, just to impress the godfather. They actually think that Clouseau has been killed after a robber(mentioned earlier in the movie)sticks poor Clouseau up and steals his car and clothes. But the robber pays for it by being the the victim of the mafia instead of Clouseau! Oddly enough, Clouseau wants revenge for his murder attempt, and goes for it. This film sounds pretty good doesn't it? Well it's not what you'd call a good film, but a mixed bag. A good amount of the jokes just didn't make me laugh as much as they did in "The Pink Panther Strikes Again". The film lightens up during the chase scenes with Clouseau, Dreyfus, the police, and the mafia! The funniest thing about it is, Dreyfus started it! His main target: Inspector Clouseau! Overall, this film is on the halfway mark between the best Pink Panther film, and the worst.

The craziest, wackiest and most hilarious Clouseau adventure
"The Revenge of the Pink Panther" was the last Pink Panther film to star Peter Sellers, but I got the most laughs out of this one. The salty sea dog costume and inflatable parrot is extremely hilarious. "Naughty birdin afraid of the feug.", he replies. At his fake funeral, Clouseau dsguises himself as a priest, when he goes to the gathering at the churchyard, there is a 21-gun salute. When the rifles go off, he goes, "Ehh". Quite a bit of violence in this one, too. You want to laugh, go ahead and treat yourself to great comedy with this funny-bone tickler!

"Inflatable Goiters? Yes, The Valentine's Day Collection."
I am an enormous Peter Sellers fan, and love the whole "Pink Panther" series, but while still funny, this is not one of my favorite outings. Sellers is back as Jacques Clouseau, and this time is taking on "The French Connection" crime organization in the midst of a huge heroin transaction that takes them from France to Hong Kong. Robert Webber plays Philippe Douvier, chief of the organization, and while he is smooth, the interactions are more forced and formulaic than in the other "Panther" films. This time the beautiful vixen is played by Dyan Cannon (as Simone Legree), and series stalwart Burt Kwouk returns as the always helpful Cato (who starts his own business for a new twist...)

Also returning (somehow) is the wonderful Herbert Lom as Chief Inspector Charles Dreyfus, although some suspension of belief is needed for the continuity to work inasmuch as he was last seen in "Strikes Again" being atomized by the doomsday machine. Notwithstanding that continuity gaffe, Lom gives the best performance of the film, and in fact single-handedly rescues this installment from a three star rating by virtue of the sublime funeral scene in which he has to give the giggling eulogy for "Clouseau" in what must be one of the funniest scenes ever caught on film.

Here the plot seems very contrived and the screenplay devolves frequently to only modestly amusing puns. Clouseau's disguise designer, for instance, is named "Auguste Balls", and you can see the hilarity that can result. Pretty grade school level, I'm afraid. Also devolving into tedium is the seemingly eternal chase scene at the close of the film, which looks like something the Three Stooges would have done, and set to extremely repetitive, annoying, whistle-laden vaudeville slapstick music. I remember seeing this a long time ago and thinking this scene lasted too long, but this time I actually started thumbing through a magazine to pass the time until it was over.

This movie is funny, and I do recommend it, with a couple of caveats. First, it is recommended only to people who are already fans of the series, and second, it is recommended only to those with patience to muddle through a bit more tedium than is typical of the rest of the "Pink Panther" films.

Watchable but flawed
"Revenge of the Pink Panther" is probably the weakest of the original five Panther movies. Considering it was the fifth installment in the franchise, it simply may have been too much. This time around, the story finds Inspector Clouseau in the sights of a drug lord named Philippe Douvier. Douvier wants to prove to his American counterparts how tough he still is and this is how he wants to do it: by killing Clouseau!! After several failed attempts (which include a bomb and sending out a superhuman assassin) Douvier and his goons think they have succeeded and the entire world thinks Clouseau is dead (upon hearing this news, Dreyfuss regains his sanity!!). But Clouseau is actually alive and is now sneaking around incognito in the hopes of finding his "killers" and bringing them to justice. There are quite a few problems in this film. First off, the writing in "Revenge of the Pink Panther" is inferior to the previous films. I mean, there isn't much of a plot; Douvier just wants to prove he's still strong. This wasn't a problem in the other entries which all had decent story lines that kept things a bit interesting. I think the writers would have done well to have made a better head bad guy as well; Douvier wasn't particularly engaging or interesting. And one more thing. I mentioned Dreyfuss is in the film. Wasn't he incinerated in "The Pink Panther Strikes Again"? I guess they chose to ignore that movie (makes sense considering it was so bizzare). But on comic side of things, you can still get a few decent laughs out of this one. Clouseau dons some pretty wacky disguises here, some of which include a peg-legged Swedish pirate (thar she blows!!), dwarf painter Toulouse Lautrec, and even a godfather disguise. There are some other scenes you'll like but I won't spoil them for you here. When all is said and done, "Revenge of the Pink Panther" isn't bad but it still falls short of its predecessors. I'll give this 2.5 stars. See it if you like but don't expect this reach the heights of the previous "Pink Panther" films.

Montezuma got his revenge. Now it's the Pink Panther's turn!
While I enjoyed this movie, I felt it just wasn't as strong as the previous ones. Maybe the series was running out of gas, as I felt it just didn't have the same level of hilarity as the previous movies, but a half funny Pink Panther movie is still funnier than most. Anyway, this one involves the inspector going up against the French connection. In a effort to show that they still have muscle, the syndicate decides to assasinate Chief Inspector Jacques Clouseau. To do this, they hire a sort of martial artist super assasin. I would have liked to seen more done with this part of the story, as they seemed to set it up really well, but the follow through just didn't seem that strong. Well, the assasin is unable to complete his mission, and the French syndicate tries another method. In a comic mishap, they end up killing the wrong man, and, thought to be dead, Chief Inspector Clouseau goes underground to try and flush out his would be killers. My favorite scene in this movie is when Chief Inspector Clouseau goes back to his apartment after he was thought to be dead, only to find that his manservant, Cato, has turned it into a 'Chinese nookie factory'. His 'meeting' with Lotus Eater Tanya, played by Valerie Leon, was really funny. A side note, Valerie Leon can also be seen in such movies as Never Say Never Again, The Spy Who Loved Me, Queen Kong, and Blood From The Mummy's Tomb...whotta babe! Anyway, Chief Inspector Clouseau eventually trails the French syndicate to Hong Kong with the movie basically culminating in a fireworks factory. Herbert Lom is also back, playing Chief Inspector Dreyfus. On hearing that Clouseau is dead, he makes a miraculous recovery and is released from the asylum. He is given is old position back as chief inspector and tasked to find and arrest Clouseau's killer, but given their past relationship, he would like nothing better than to thank them. There are a number of funny scenes where he sees Clouseau, who is presumed to be dead, and thinks he is having a relapse. One of my biggest perceived flaws with this movie was Dyan Cannon. While she is very attractive, and a capable actress, I just felt like she didn't fit in properly with the movie. She plays Simone Le Gree, one time secretary and lover to the head of the French connection. She gets mixed up with Clouseau when the French syndicate decides she's more of a liability alive with her intimate knowledge of their operation. Again, this was another storyline that could have been expanded more, but was glossed over. So, in closing, while not the best in the series, it certainly provided a number of laughs. ... Read more

Reviews (10)

astonishing director does it again!!!
Atom Egoyan is a truly revolutionary director and he proves himself once again with CALENDAR, his first great film (although the ones before have been quite good)...the scenery is magnificant, the performances are so real (wife Arsinee Khanjian gives one of her best performances) and the directing style is fresh and unique (also keep in mind this is 1993)...The simple plot (engaging and absorbing as in all Egoyan films) does not unfold chronologically, which is just one of the fascinating aspects of the film...it truly is dazzling, and the mostly improvised dialogue is spectacular...(annoyed at the seemingly endless footage of the flock of sheep near the beginning? You'll appreciate it in the end.)Egoyan's films always manage to touch me in ways I never expect. That might have a lot to do with the fact that I am Armenian and a lot of his films deal with being an Armenian, but I never truly appreciated my heritage until viewing ARARAT, CALENDAR, and NEXT OF KIN. What a wonderful movie this is...what an remarkable director Egoyan is...can't wait to see what he comes up with next..

Self-indulgent and heavy-handed
I greatly enjoy Atom Egoyan's films, usually. I've followed his work since the release of SPEAKING PARTS and have seen most of his major films. I have found things to like about all of them - except this one. CALENDAR is a torturously self-conscious reflection on the ways an obsession with documenting reality can come between a filmmaker and those around him. The film has the FEEL of the confessional; to me, it seems very likely -- though I don't know for sure -- that Egoyan and Khanjian were playing, basically, THEMSELVES, and that the movie was meant as some sort of therapy for them -- Egoyan flailing around in his self-hate for being so afraid of experiencing an unmediated reality, wanting to see everything through the camera -- even his wife's attraction for another man, for example. In-between footage of Egoyan and Khanjian's trip to Armenia, we get lots of shots of Egoyan sitting around his apartment alone, contriving dates with women he doesn't really care much about and brooding over the memory of his failings with his wife. Maybe that sounds appealing to some of you -- sounds raw and daring, a filmmaker picking the scabs on his conscience aside and showing the viewer the throbbing wounds beneath; I personally found it embarrassing and somewhat distasteful. The obvious comparison, I suppose -- the film most like this one, that I've seen -- is DAVID HOLZMAN'S DIARY; but that movie only pretends to document a filmmaker's unhealthy dependancy on the camera-eye, and so never descends into the sort of psychological exhibitionism CALENDAR reeks of... If you're exploring his less-known work, or just looking for intellectually stimulating cinema, FAMILY VIEWING and SPEAKING PARTS are both incredible films. CALENDAR is one to avoid. (Sorry, Atom!)

Armenians must know their history
Our duty as Armenians is to Remember and pass the memory to next generation and make the tragedy known to the world, this movie does it the best way... excellent, something to have at home and watch it over and over..it is good acting, excellent plot, love and history...

Egoyan's only dud
Atom Egoyan is one of the most interesting directors alive. Indeed, "The Sweet Hereafter" was probably the best film of the 1990s. Practically everything Egoyan has made is worth a look.

Except for this mess.

"Calendar" is repetitive, pretentious, and almost unwatchable. It's like an Egoyan parody. The content would be thin even for a short film; as a feature-length production, it's a self-absorbed, seemingly endless disaster.

But *do* see "The Sweet Hereafter." And "Exotica." And "Felicia's Journey." And virtually anything else by this remarkable filmmaker.

Avoid except for true Atom Egoyan fans
I like Atom Egoyan's movies but I am not a die-hard enough fan to sit through this one. Atom Egoyan even "tries" to act in it. I think he would do well to stay behind the camera.

Basically a photographer and his wife take photographs of Armenian churches for a calendar they are making. They travel to these places with a local historian who is very interested in the photographer's wife. These scenes are cut with the photographer sitting at home trying to solve his emotional problems with other women.

Its pure garbage. Sorry but I could not believe I sat through this. I am a fan of the man's work but this one is a mess. I only recommend it to die-hard fans and the most extreme of art-house movie lovers. I lean a little to the art-house side but this was a way too much for me to take. ... Read more

Amazon.com essential video

If you could choose only one Pink Panther movie, your best betwould be A Shot in the Dark--ironic, since it's the only entry in the series that doesn't mention the Pink Panther or even feature the cartoon cat in its opening credits. The title and basic plot are taken from the play by Harry Kurnitz, which in turn was adapted from the French stage comedy L'Idiote, but those plays were completely reconceived by director Blake Edwards, who cowrote the screenplay with William Peter Blatty (yes, the writer of The Exorcist!) and turned the film into a showcase for Peter Sellers and a nonstop parade of slapstick gags and pratfalls. This time Inspector Clouseau is accidentally assigned to track a gorgeous, high-profile murder suspect (Elke Sommer), who is connected to several Parisian murders by circumstantial evidence. Believing her to be innocent when all clues indicate otherwise, Clouseau captures his suspect and releases her several times, to the dismay of Chief Inspector Dreyfus (Herbert Lom), but the plot here is arguably beside the point. As a bumbling variation of Hercule Poirot, Sellers steals the show, refining Clouseau's persona--including his outrageous karate duels with his tenacious valet, Cato (Bert Kwouk)--and nonchalantly waltzing through a plot involving numerous disguises and at least a dozen murders. Some scenes are so funny that you could swear the actors are about to crack up laughing, so you laugh even harder when supporting players such as Graham Stark (as Clouseau's tolerant assistant, Hercule) hold a perfectly deadpan expression. Of all the Pink Panther movies, this is the one that fires on all pistons, with Edwards and Sellers in peak form, servicing a traditional farce that brought out the best in their inspired collaboration. --Jeff Shannon ... Read more

Reviews (39)

Great follow-up from the first!
"A Shot In The Dark" finds Peter Sellers' Inspector Clouseau on the case of a murder at the Chateau. Maria Gambrelli (Elke Sommer), a resider, is accused. Clouseau has fallen in love with her and is willing to free her of any charge by watching her every move and masquerading, which finds him going to the police station 4 times in a repeated paddy wagon sequence which is absolutely the cream of it all. Streaking through a nudist colony is another great sequence that is a quite a shocker on film. When the climax is about to occur, Clouseau questions a group of bickering people who've comitted dirty sinful deeds, plus Dreyfus (Herbert Lom) is out to eliminate Clouseau. He did, of course, fail to do so. The outcome is surprising. You'll have to see for yourself. It's not better than "The Pink Panther Strikes Again" as it is called by many the best. It comes close, though. This is the only Pink Panther movie that does not have the Pink Panther in the title and the theme song in the movie, but is definetly worth seeing. There's no question about it. You'll laugh so hard you'll fall. Don't fall to hard, otherwise you'll receive a "bemp" on the head!

"I Seem To Have Stabbed Myself With A Letter Opener."
This is one of the very rare films where the sequel is better than the original. This movie is absolutely a letter perfect comedy: suave yet silly; understated yet over the top; pompous yet reserved. You get the idea. A perfect film. I wouldn't change one thing about this movie, even if I could. Peter Sellers defines the bumbling Clouseau as an individual better here than in the original, and I think the supporting cast is stronger as well. Elke Sommer is perfect as the beautiful, naive murder suspect who Clouseau goes to any ends to defend, while George Sanders is wonderful as the great scoundrel millionaire, Benjamin Ballon. Introduced for the first time in the series are Bert Kwouk as Kato (later spelled 'Cato'), Graham Stark as Clouseau's (extremely) patient assistant, Hercule, and my favorite of all the Panther supporting characters, the great Herbert Lom as Inspector Dreyfus. Watching Lom go through the phases of psychosis in this film is one of the greatest experiences and delights a person can have as a movie viewer. (I particularly like his performance in the closing scene, and when reading the newspaper with trembling hands and twitching eye.)

The plot concerns Clouseau's infatuation with a wrongly accused murder suspect, and the chaos that develops from that unlikely situation. The film is filled with a degree of nuance seldom seen in a comedy, and is probably the best crafted of all the Panther films (although I have to admit that the way over the top "Pink Panther Strikes Again" is my personal favorite.) The physical comedy that Sellers could make totally natural (watch the "spinning globe" scene for an excellent example) is still unrivalled, and the nuanced interplay with other cast members is better than in any other comedy that I can think of (to see what I mean watch the "curved pool cue" scene and the interaction of both Monsieur Ballon and the butler.)

I highly recommend this film. The DVD print is good, though there are few extras (the original trailer is very amusing and a tad on the weird side.) It is slapstick, but it is very refined slapstick done by the master, Peter Sellers. If only they still made movies like this today. I give it five stars only because Amazon won't allow more!

Pretty funny, though I'm still not a big Clouseau fan
I gotta be honest: before watching this movie, I had seen clips of this and one or two other Inspector Clouseau movies on TV, and I've never really found him all that funny. I'd usually wince more often than I'd laugh at his idiotic physical behavior. Now that I've watched A SHOT IN THE DARK, though, I see a perspective of his classic comedy character that I didn't see in those short clips. I still can't say I'm a big fan of Clouseau, but, at the very least, A SHOT IN THE DARK made me laugh pretty heartily at times---more than I expected.

I dunno...I've just never truly responded to these films' brand of slapstick. Those constant falls and accidents of Clouseau's always seem to irritate me more than amuse me. I know Clouseau is stupid, but did he really need to be THIS stupid? That last sequence at the Ballon household, for instance, seems to go on forever because this cop carelessly keeps stepping on people's toes and falling down from couches and doors, etc etc. It's not funny; it's simply repetitive, and it annoyingly slows down the film at certain points.

Fortunately, Inspector Clouseau's idiocy isn't totally physical. There are, for instance, a few funny jokes involving Clouseau and his assistant Hercule. Clouseau recites all the facts of a case ("Facts, Hercule, facts!...Without them the science of criminal investigation is nothing more than a guessing game"), asks Hercule what he makes of the facts, and when Hercule responds with the most obvious conclusion to be drawn from them, Clouseau cries out "You idiot! Only an amateur detective would say something like that!" Amusing indeed. That's the kind of satirical humor I responded to most in A SHOT IN THE DARK, and there's enough of it that saves this movie from simply being asinine.

That, and some genuinely funny sequences: Clouseau's scenes with Cato, his inadvertently going undercover in a nudist colony, and the sequences involving the unlucky assassin. There is a brilliantly filmed sequence in the prologue, leading up to the movie's first murder; and the animated credits (without a pink panther in sight) is always fun to look at. Herbert Lom is also pretty funny as the increasingly crazy Inspector Dreyfus, who is slowly going mad b/c of the mess Clouseau is making of the Ballon case. As for Peter Sellers, he's admittedly very good in the role of the bumbling inspector, but his full comic brilliance can be glimpsed elsewhere (Kubrick's DR. STRANGELOVE, for example).

All the good elements help make A SHOT IN THE DARK a fairly entertaining, pretty funny time. To me, though, it is not the comedy classic everyone says it is. If you want to see truly funny exploits of an utterly incompetent cop, see Leslie Nielsen in the NAKED GUN movies. You'll laugh a lot longer and harder at Lt. Frank Drebin's brand of comic stupidity than you will at the occasionally irritating Inspector Clouseau here.

THE BEST OF THE PINK PANTHERS!!
THIS MOVIE IS THE VERY BEST OF THE WHOLE SERIES. IT HAS MANY GREAT LINES AND SLAPSTICK COMEDY.THIS IS HOW I WOULD RATE THE REST.
1. THE PINK PANTHER- GOOD MOVIE PROBABLY 31/2 STARS BUT SELLERS ISNT IN IT AS MUCH AND IT SEEMS TO ME THAT IT IS A LITTLE TOO SERIOUS IN PLACES.
2. A SHOT IN THE DARK- THE BEST. HILARIOUS.
3. RETURN OF THE PINK PANTHER- 2ND BEST. VERY FUNNY.
4. PINK PANTHER STRIKES AGAIN- THIS ONE IS PRETTY FUNNY BUT A LITTLE CORNY WITH A SUPERLASER KIND OF DEAL.
5.REVENGE OF THE PINK PANTHER-THE FINAL TRUE MOVIE WITH SELLERS. AND IT IS A GOOD ONE.
6. TRAIL OF THE PINK PANTHER- BAD MOVIE BUT.... I SORT OF ENJOYED IT BECAUSE IT SUMS THINGS UP A BIT IT PROBABLLY DOESNT GET QUITE AS BAD AS A RAP THAT IT DESERVES.
7.CURSE OF THE PINK PANTHER -THIS MOVIE IS NOT A BUNCH OF OUTTAKES LIKE THE PREVIOUS ONE. IT HAS AN AMERICAN DETECTIVE SEARCHING FOR THE INSPECTOR. NOT TERRIBLE BUT WAY BETTER THAN THE TRAIL AND THE SON OF THE PINK PANTHER.
8.THE SON OF THE PINK PANTHER- THIS MOVIE SHOULD NOT EVEN BE RELATED TO THE ORIGINALS. THE WORST. BELIEVE IT OR NOT THERE ARE SOME PEOPLE WHO ACTUALLY LIKE THIS ONE. IM NOT ONE OF THEM. SO TO SUM IT ALL UP, THIS IS THE ORDER FROM BEST TO WORST-SHOT IN THE DARK,RETURN OF THE PINK PANTHER, PINK PANTHER, REVENGE OF THE PINK PANTHER,PINK PANTHER STRIKES AGAIN, CURSE OF THE PINK PANTHER, TRAIL OF THE PINK PANTHER, AND FINALLY SON OF THE PINK PANTHER.

Brilliant
A chapter in the myriad of Pink Panther films, this film is one of the best crafted and most hillarious in the series. Unlike the other films in the series, this film does not focus as much on the Pink Panther as on The Svejk-like inspector Clouseau himself. Valuable to a fan of the series it takes the time to provide a deeper insight into the character of the infamous and clumsy inspector. Investigating a murder in the house of the multimillionaire leads Clouseau to brilliantly farcical adventure, unexpected romance as he tries to defend his lovely object of affection from false accusations and yet a more unexpected conclusion to his case.
Clouseau's developed persona and the mishaps attached to it may be the highlight's of the film, but they do not compensate for the 2-dimensionality of the rest of the characters. There is little to the films secondary protagonist, Maria Gambrelli, as her only feature is a magnificent talent to attract bad luck and being in the wrong place at the wrong time. Yes, having a well-developed character, Clouseau in this case, is very good, but it seems that there should be more Clouseau's in the film.
So, this dramatic production seems to have spread out a bit too thinly as it tries to focus on Clouseau, the case, and the sparked romance. If the director could perhaps chose a more defined focus, this film could have been improved greatly. Having said that, this film does a far better job in the field of comedy than most modern films that audaciously bear the title of "comedy". Highly recommended ... Read more

Amazon.com

This problematic thriller boasts several inspired elements, especially intelligent, committed performances by leads Ewan McGregor and Ashley Judd, both of whom have become hot commodities. Fans should definitely investigate their incisive work here, even if McGregor and Judd's talents are ultimately cast into a lost cause.

Judd plays a black-widow serial murderer named Joanna, who is systematically seducing and killing men who, in one way or another, are outside the ordinary. (Among her victims is a blind mulimillionaire, played by Patrick Bergin, and a nasty loser portrayed, surprisingly, by Jason Priestley.)McGregor is on board as a British intelligence agent who happens to be following her. Referred to as "the Eye," McGregor's operative is a haunted man abandoned years before by his wife and daughter. His isolation is such that he holds imaginary conversations with the latter, and she advises him to take pity on Joanna and protect her even as she carries on with her monstrous mission.

That's precisely what he does, at a distance, ushering in comparisons to Hitchcock's classics about voyeurism and obsession, particularly Vertigo and Rear Window. (Allusions to Francis Coppola's TheConversation are unavoidable as well.) But despite the great material (the 1980 source novel by MarcBehm was highly praised by The New York Times) and a fascinating cast (including Geneviève Bujold and k.d. lang),Eye of the Beholder bogs down in Stephan Elliott's often thoughtless, obvious direction. Elliott (Priscilla, Queen of the Desert) grinds down several members of the cast by insisting on dreary, one-note performances, and he makes a long movie seem even longer by telegraphingstory twists and other developments long before they happen. Justice would be served if one could extract Judd and McGregor's appearances here and graft them onto a better movie, but so it goes.--Tom Keogh ... Read more

Reviews (168)

Strangely Bewitching, Thoroughly Engrossing Film
This film is all about tone and mood and introversion. It's not the follow along plot line that we are used to in American cinema, but something much more surreal. The plot is intriguing, exciting, with the main characters capturing your interest right away as opposites with similar pain. I suppose what makes this a five star film to me is that it's like reading a really intense book (though I haven't read the book this is based on as of yet). You become submerged in the story, in the atmosphere... the credits come up and you're still trapped inside the film, full of contradicting emotions and ideas. I find that any movie that haunts me after I've seen it is rare. Having worked in a video store for four years, I've seen a great deal of movies and those rare few that can encapsulate you into thier world entirely are like strange jewels scattered among the same shelves with the usual gravel. I recommend this movie whole-heartedly, yet believe it is best viewed alone, perferably at night... might as well induldge yourself, after all it's about being in the dark, alone, watching someone else.
Don't expect anything ordinary or predictable about this plot. The characters are flawed creatures whose moves and motives change in a consistantly realistic way. The two characters actually switch roles as the film progresses. It's fascinating material.
Alright. Enough praise. Rent it. Why not? It's only a buck or two (unless you're going to some hideous chain store).
Clear your head and expect to get sucked in. Whether or not you like it or not, you'll be hypnotised...

Only one thing went right with this movie - Acting.
The movie follows Eye (Ewan McGregor)a man who just lost his wife and daughter and is a British Intelligence agent as he is put on an assignment to follow the son of a senior British Official. Along the way he finds out that the British Official's son gets murdered by a woman by the name of Joanna Eris (Ashley Judd). Eye now trails her and along the way begins to fall for her. The more he learns about her the more he realizes that she is a never ending mystery.

The acting was superb, for a film that went nowhere. It was amazing how there is little to no chemistry between Eye and Joanna. The only thing that kept me watching was Judd's acting. The movie seemed like it ended where the middle should have been. The backround information was vague on both character's part. The whole movie evolved around a chase between a killer and the man pursuing the killer the sad thing is that it went nowhere from there.

Overall:

Visuals: 3
Acting: 4
Directon: 3
Story: 3

My eyes were closed. Zzzzzzzzz!
I have to say that this movie was the worst movie I have ever seen, period. It just didn't make any sense. It probably just had hidden meaning that I never got. Don't rent it, don't buy it, don't even borrow it from anybody. Oh, and I'm not really from Greece.

You'll Shoot Your Eye Out, Kid!
You would think that with a hundred or more terrible reviews of this film posted, one might as well just leave it alone. But, no, the movie was exactly THAT bad to provoke another negative response, at least from me. Who had the brilliant idea to film a thinly plotted espionage thriller as if it was a student art film? And artsy it certainly tries to be. The plot follows a neurotic British agent across the world as he becomes more and more enamored of a sociopathic, yet emotionally wounded, femme fatale on whom he has been spying. There is no rhyme or reason, even in the wide span of human desire and emotion, to explain many of the events and incidents that happen between the two or even why, other than sheer insanity, he is drawn to her in such a creepy stalker type fashion. The movie certainly won't tell you anything. It is too "high brow" for that and would rather show you fancy camera work and snow globe after snow globe. One gets the impression that the director is trying to impress you while completely forgetting that he is filming a trashy romantic spy novel (thus the scenes with a topless Mz. Judd would be defined as being "tastefully done" and "necessary" rather than tawdry and exploitative). You may sit around and discuss the nuamces of this "film" over a latte, but it doesn't erase the fact that it is simply dull and dumb, faulty advertising or no.
Oddly enough, there is an alternate ending on the DVD which, while not redeeming the film, at least ends it in a traditional Hollywood fashion and is a little more satisfying than what those in the theater saw. It is an additional scene where Ewan meets up, rather conveniently, with his long lost daughter. It is set up in the story that he has never seen his daughter before and has had to pick out which girl was his from a school photo of an entire class. He believed so strongly that the girl he chose was the right one that she appears throughout the film as a phantom of his imagination. It actually adds quite a bit of dimension and pathos to his character to find out in the ending that was cut, that he picked the wrong girl. I felt better about the viewing after watching this until I remembered that somebody decided to cut this scene for release, probably because it gave a little too much explanation and insight to a film that tried its hardest to offer absolutely none.
Even if the whole topless issue piqued your interest a few paragraphs back, trust me, it isn't worth it. Watching paint dry isn't the same thing as viewing a painting. That statement isn't as profound as it is nonsensical--like the whole concept of this film.

WHEREIN LIES THE BEAUTY?
EYE OF THE BEHOLDER is one of those films that revels in its artistic vacuum. Sure, director Stephan Elliott gives us some moody visuals, appealing camera angles and two performances by Ashley Judd and k.d. lang that far outclass the movie. Ewan McGregor's loneliness is so telegraphed and forced he becomes a mere tool in the film. And ultimately in spite of its artistic merits, where does it end? Why would anyone fall in love with a serial killer; his wife and daughter left him--so what, life goes on. His obsession with her, in my opinion, does not justify wanting to "save" her. She's coldblooded, heartless and intrinsically selfish. Lonely--it's her choice, just as it is his. The ending...why in the world is Judd so upset that McGregor knows what she's done?
Ashley has gone on to make better movies; she's a very good actress. Too bad the script didn't use her better. ... Read more

Amazon.com

Based on an idea by Gene Roddenberry, Andromeda wears its debt to Star Trek on its sleeve, recalling the best SF of Roddenberry's heyday. Kevin (ex-Hercules) Sorbo plays Captain Dylan Hunt, the sympathetically flawed idealist in command of the Andromeda Ascendant, a massive 1.4-kilometer-long starship of the now-disbanded Systems Commonwealth. The fall of civilization has meant that although it ought to be a relic, it remains the zenith of technological advancement.

Episodes on this collection: "The Pearls That Were His Eyes," "The Mathematics of Tears," "Music of a Distant Drum," and "Harper 2.0."

"The Pearls That Were His Eyes" was one of the first conceived episode ideas but was delayed until the availability of a Star Trek regular. That eventually turned out to be John (Q) de Lancie, who gives a brilliant turn as Beka's long-lost Uncle Sid. She really ought to have learned by now that no one is out for completely altruistic goals. An indication of how rotten the galaxy has become is that it can now take three years for junk mail to reach you.

Finding another High Guard ship with a crew looking as it did 300 years ago seems like an awful big coincidence. In "The Mathematics of Tears," Dylan works to stay focused on the enigma at hand. Unfortunately, high-ranking officer Jill Pierce keeps distracting him with red herrings and all manner of feminine wiles. Did they really stay young from the aftereffects of an experimental weapon? Or is there a far more tragic secret to be revealed?

When the show focuses purely on Tyr, we can always be sure of certain eventualities. There will be glistening displays of muscle, questioned loyalties, and some sort of humbled reconciliation with Dylan. In "Music of a Distant Drum," his erratic behavior is influenced by a sounds that take him to the planet Midden and a family of fishmongers. The episode gets to look at the character from the inside out due to a complete memory loss.

Never, never, never pick up a floating life pod. When will characters in SF learn this? The dire result of doing so this time is an impressive "Harper 2.0." Gordon Woolvett hasn't had many opportunities to shine thus far. But here we see him talking in multiple languages and contrasting his general surfer wisecracking with sharp intellect and a mean streak. We also get a glimpse of what it is that's so feared about the Magog in battle. --Paul Tonks ... Read more

Reviews (5)

Andromeda give it a chance
I have a lot of friends into Scifi but for some reason they don't like Andromeda. I tell them give it a chance as even though its can be really campy at times, it can be real good television as well.

Andromeda 1.3 we start to see the crew really starting to work together on the screen. What makes this show work is how comfortable all the actors are with each other.

Each TV series has some shows that are not great. Seinfeld might be expection, but "Music Of a Distant Drum" the first show on the second disc was plain boring. Tyr character didn't get much development in this episode. The lady who takes him in is just plain awful, and her son is no better.

This disc does have 2 GREAT [5] star shows. One "The Mathmatics Of Tears" has simply one of the best action scenes of any Scifi TV show I have seen in awhile. What I love about series TV is the little hints here and there. We all know Becca Valentine has the hots for Dylan and when Dylan is being courted so to speak by a HOT Highguard from the past Becca gives those jealous looks.

Haper 2.0 is simply one termendous. Its was nice to see Harper get a chance to shine. The moment when he goes off on Rev Bem (My personal favorite character) is very emotional. Here they lay the foundation of a main heavy of sorts which the series needed. What Andromeda needs is one anti force that is always causing them trouble every other episode.

I highly recommend this series. The pilot is not great, but once you get passed that it really starts to come into its own as a series and you will start to truly care about these characters. I am already into the Trance-Harper love storyline. Hopefully a bone with be thrown in there later in the series.

More Please
I really like Andromeda and the series is great. The contents are good, but for 2 discs worth of material they only had 4 episodes on them. They need to put at least 6 episodes to a volume if they aren't going to put that much extra material on them. Either that or lower the price of the vol.

Whoo-Eee!
I love this show. I love the campy bits, I love the character conflicts, I love the obvious bits and the ocasional subtle humor. As a show it never takes itself seriously, but the actors are pros and do it right. It's got lots of sci-fi cliches, and it pokes constant fun at trek and hercules. The costumes are awful (motorcycle helmet anyone?) ... but the CGI is intense, the design is beautiful, and the whole thing is seamless. There are lots of extras on these DVD's (bloopers, etc) and the quality is terrific.

I wanna be an AI when I grow up.

Not as good as the first two....
For those who haven't seen Andromeda, it's a great science fiction tv show. These episodes are some of the stronger ones in the first season. I won't comment on them too much since the manufacturer's synopsis is pretty accurate. However, these episodes are all heavily character driven with some focus on the crew members instead of Captain Hunt. The final episode in the set begins a subplot that will mature into an epic storyline. Unfortunately, later seasons would forego these types of complex plots.

This is a solid but unspectacular dvd set. Like the first two sets, these episodes are shown in widescreen format. The picture is free of any grain or image wash. For a tv show, the picure is absolutely crystal clear. The sound is full, although sometimes the background music overwhelms the dialogue. I've found that I have to turn the volume down when watching action sequences. The sound seems to be mastered for a theater presentation rather than a living room. This is not necessarily a negative, since the effects are full and resonate at all levels.

The disappointment in this set is that there are only four episodes. The first two sets had five episodes. Additionally, the extras are not as impressive as the first two sets. Unlike the first two sets, there is no commentary for any of the episodes. While there is a nice image gallery, the bloopers and outtakes only comprise a couple of minutes of footage. The intro to the bloopers ran longer than the actual bloopers and repeated itself twice.

The bottom line is that while the episodes are presented well, the extras and overall content of this set were disappointing. This is especially true when compared with the first two sets. Still a solid set and I would recommend it if you are a fan of the show.

Some of the Best Andromeda Episodes!
Finally, some of the best Andromeda episodes come out on DVD! "Pearls" features some great interactions between Beka and Trance, as well as the always-good John DeLancie as Uncle Sid. "Mathematics of Tears" has THE best fight scene in all of Season 1. No spoilers, but the entire thing is choreographed to an aria from "The Flying Dutchman" by Wagner. "Distant Drum" sets the stage for Tyr's big secret which will be crucial later. Not that great of an episode, but anything that features Tyr is all right by me. "Harper 2.0" is a romp, but shows us the serious side of the normally light-hearted engineer. Harper winds up gaining all of the knowledge of the universe, but someone is after it. Enjoy them all! ... Read more

Reviews (8)

Willis and Garner make a great team
I actually enjoyed this movie tremendously, and I try to catch it whenever it appears on cable. Bruce Willis (who, for the record, looks darned sexy in a cowboy hat) and James Garner have fantastic chemistry - I really wish they'd do another picture together, preferably a western.

The movie does play fast and loose with history - but heck it's not a documentary! Repeated through the movie is the line, "That's the way it really happened - give or take a lie or two." When taken in that spirit, "Sunset" is a very entertaining couple of hours.

Always a pleasure to watch.
I must have been one of the few people who actually saw this film in a theatre when it was released. I got the impression I was the only one who liked it, too, and I'm glad to see now that I'm not alone. From James Garner's always-likeable, always-masculine performance as Wyatt Earp to Bruce Willis's engagingly flirtatious performance as Tom Mix (and wearing some incredible outfits - he manages it beautifully and believably!) to a pretty darned good murder mystery, this film always pleases me. I guess perhaps the mix of old West and silent films confuses some viewers, but I found it very intriguing.

A well made, well paced movie.
Good acting, a good script and well edited. This film captures Hollywood of the day, in it's glory and it's decadence.
Gardner's portrail of Wyatt Earp reminds me (favorably) of Kurt Russell's role in Tombstone.

"Give or Take a Lie or Two."
I happened to catch the last fifteen minutes of SUNSET while flipping through the Western channel on cable. I was so intrigued by the movie that I rented it as soon as I was able to find a copy (not an easy task). The movie stars James Garner as Wyatt Earp and Bruce Willis as Tom Mix. Mix is starring in a movie based on Earp's life and Earp has been brought in to Hollywood to serve as a consultant. The famous lawman and the colorful cowboy quickly become friends and are drawn into a murder mystery that ultimately leads to a shootout on the evening of the first Academy Awards. The movie is funny, has some good action scenes, and even a touch of romance. The film is a tribute to not only the old Westerns, but to the silent movie era in Hollywood. The setting seems very real and there are some great classic cars that are displayed throughout the film. There isn't any sex, hardly any foul language, and the violence is tame. SUNSET is an overlooked gem that's worth mining.

mining nuggets
After raking through the dross of over rated and overpriced Hollywood hype,i found this gem.Fine cast,top story line,fine acting,modest price.A little mystery,a dash of comedy,a bit of Hollywood in the twenties when the studios own'd the police and could get away with murder.I know anyone who is a Jim Garner and Bruce Willis fan won't be sorry with this dvd.
PS.If you like classic cars you'l see some beautiful restored Duesenbergs,Caddys,Packards,Rolls,etc. ... Read more

Reviews (11)

Lee Remick, Ross Martin and Glen Ford were all fantastic.
The Movie kepted me on the edge of my seat the whole time. From the very second Ross Martin started to stalk Lee Remick under a shadowed light so you couldn't tell who he was. To the very end of the movie. The script was fantasic, and was fit just perfect to a real life situation that might just really happen.Ross Martin did a really good job playing a stalker. Lee Remick played a really good victim, and Glen Ford played an excellent detective. The film was directed great, the lighting was wonderful. Blake Edwards Did a great job. The title " Experiment in Terror" was even perfect. I am an actor and a cinamatographer, and to me this movie showed every thing a great film should. To me this is a film that'll never be forgotten.

TAKE ME OUT TO THE BALL GAME
From the moment this movie starts, with Henry Mancini's simply outstanding main theme, EXPERIMENT IN TERROR is a marvelously crafted thriller. By now, we're so used to non-stop action, gunplay, screaming, fx, etc., we forget that the key to a good thriller is to thrill by suggesting rather than showing the violence. This one kicks in right away as lovely and talented Lee Remick is confronted by an asthmatic maniac (Ross Martin, best known for Wild Wild West) who wants her to rob the bank where she works, or he'll kill her and her lovely sister (Stefanie Powers in one of her first roles). Glenn Ford, one of our most overlooked actors, plays the FBI agent who struggles to help Lee catch this crook. Anita Loos as Martin's current snooze is also very good in showing the conflict she feels toward the benefactor of her ailing son.
Blake Edwards, who will receive an honorary Oscar this year, directs with a haunting malevolence, and then again, there's that Mancini theme...still gives me chills!

It's about time for this movie to get it's due.
I consider this to be one of my faith movies. I just buy it on faith that it's good, and it hasn't disappointed me. It's very effective in the black and white. The music scores are stellar too, and to choose the Twin Peaks section of San Francisco as the beginning of the movie is asking for thrills, and chills. Go potty before watching the movie, and gauruntees to make boy/girlfriends to cuddle close, or your money back. Stars a very foxy Lee Remick who is accosted by a psycho with asthma who threatens her with her life if she doesn't steal money from the bank she works at; and HE'S NOT FOLLOWING AROUND!!! Right after he leaves her she calls the FBI, and speaks with Glenn Ford, but the killer hasn't gone far, and he grabs the phone which is now the serious of the situation, and it's going to get more juicy as Lee now wants to cooperate with FBI, and her bank, and at the same time protect her sister played by 19 year old Stephanie Powers. She's harassed by many people who may be this killer, but Lee doesn't know, so she has no choice, but to play this psycho's game, and is drug all over San Francisco. This guy is just dedicated to getting his way, and he pulls all the stops to do the job even dressing as an old lady to kidnap Stephanie, and I can't help if this is where Nelly got the inspiration for the song "Hot In Herre" as he makes her take off her clothes. The climax comes at the end as Lee ends up making the meeting with the money at Candlestick Park. It's hard-fisted in your face till you smell the garlic on the breath action until the very end, and reeks of sinister thrills. Reminder: Go To Potty Before The Movie Starts. It may be dated, but it's still a heart pounding thriller, and one of my all time favorites. If Hollywood has any brains don't remake this. Nothing will ever hold a candle to this 1962 version.

Thrilling masterpiece
This is a masterpiece of suspence, you never know what's going to happen next. And the music, the music just enhance it all. What a movie. I haven't seen many movies like this.

I'm so pleased
I have always been very satisfied with the service from this company, and to date, I still am. I received my movie in a timely manner, and it was in perfect condition. :) ... Read more

Reviews (2)

An excellent film! A great family friendly show!
This DVD included the first two episodes of "Road to Avonlea" the TV series, or better known in the U.S. as "Avonlea", as aired on the Disney Channel in the 1990's. A touching and family-friendly series about a little rich girl who moves to Prince Edward Island to live with her relatives when her father is accused of embezzlement in his own company. The adventures that this little girl Sara Stanley has with her cousins, (the "King" family) are hilarious and heart-warming! This is definately worth checking out!!

delightful
Excellent for children, found this film to be one you can learn from mistakes,has values presented,happy ending! ... Read more

Reviews (10)

A Great Modern Drama about Sexual Obsession
Surreal as it may "The Adjuster" is still streaks and bounds ahead of most other sexual dramas. The story basically revolves around an insurance claims advisor (Elias Koteas) who helps people come to terms with the lose of their homes and possessions to some form of accident. He wife Hera (Arsinee Khanjian) works as a film censor who secretly films the pornography that she is viewing. There are various other characters who come into contact with the pair and sexual fantasies are the main theme that drives the story forward.

In many ways it is hard to describe without actually seeing it. There is very little plot but the movie does have some very memorable characters and it does have a good climax. It is sort of like a tone-downed version of a David Lynch movie and film director Atom Egoyan does wonders with the cinematography. The film looks visually wonderful and is very pleasing to the eye.

All in all this is a great drama but do not try and find too much of a plot here. It is more about the characters and their sexual dysfunctions. Some very memorable scenes throughout.

Well worth seeing.

Egoyan's most complex,funny and reflective
After sitting through multiple viewings of both a Pan & scan, censored vhs and a dim, murky widescreen PAL transfer, what a JOY to finally get to see this splendid film in a clean widescreen transfer. The soundtrack is possibly the best I've heard since "The Conversation" -a curious layering of soundtracks to films which are being censored, which you'd never want to see. Sometimes the film is funny, sometimes thoughtful, always it gives me time to think my own thoughts about its' troubling implications regarding our inability to see the whole picture. I LOVE this movie. I Love owning it. This is what DVD is really great for: being able to own great looking and sounding copies of your favorite films at reasonable prices.

mal-adjusted cinema
Of all of the early Egoyan's this is the one most li