Reviews (53)

Before
"9 to 5" remains a favorite comedy of mine 24 years after its release. I first saw it in the movie theaters back in 1980. I thought it was hilarious then and I still think it is hilarious now. Dabney Coleman was the perfect evil boss. He was a sexist, bigoted jerk of a human being who treated his employees like dirt. Lily Tomlin, Jane Fonda, and Dolly Parton rounds out the cast as the disgruntled employees. Although we use computers now, office antics remains unchanged in the 21st century. Who hasn't dreamt of killing their boss? "9 to 5" really epitomized just how funny, if not torturous working in an office can be. I know from experience. Thankfully I never encountered a male supervisor who sexually harassed me like Dabney Coleman did to Dolly Parton in the movie. My personal favorite moment in the film was when the women were at Dolly's home kicking back on some wacky tobaccy. The fantasies were hysterical. They still crack me up to this very day. I personally loved Lily Tomlin's fantasy as Snow White. The longer I work in an office environment, the more I can relate to films like "9 to 5" and "Office Space". Talk about life imitating art.

Do you do M&M's?
I hope this is a fantasy movie. Dabney Colman plays Franklin Hart Jr. (...) Mr. Hart can not understand what is happening to him. It seems that everything he does backfires. Violet (Lily Tomlin) gets upset because he promotes someone that she trained, around her. After making overtures to the married Doralee (Dolly Parton), she threatens to turn him from a rooster to a hen with one shot. At one point Violet fantasizes about and may have put “Rid-a-Rat” in his coffee, which leads to a great hospital scene. Violet says, “I'm no fool. I've killed the boss, you think they're not gonna fire me for a thing like that?!” He eventually spends time literally hanging around Judy’s (Jane Fonda) house while the Trio of women get the goods on his side business of pilfering from their company. Dabney Coleman outdoes himself in the hunting scene. (...)

For Every Office Worker Who's Wanted to Bump Off the Boss...
Saw this movie over 15 times before it even hit video, let alone DVD - saw it in a theatre when I was younger, and it quickly became one of my favorite comedies.

The casting is brilliant. Lily Tomlin plays Violet, an office manager with a sexist-egotistical-lying-hypocritical-bigot of a boss, Mr. Hart (Dabney Coleman), who she is trying to put up with because she's in line for a promotion (even though she's had her share of seeing men SHE TRAINED promoted above and before her). Dolly Parton is Doralee, buxom secretary to the lecherous Mr. Hart, who put up with his advances and pinching and staring because she needs the job (little does she know, thanks to him and his mouth, she's also - behind her back - known as the office floozy). Jane Fonda is Judy, a newly divorced woman who's husband left her for his secretary - she's just started at Consolidated, and is having a hard time adjusting to office life.

In one bad -- really bad -- day, Mr. Hart manages to push all three of these women to the breaking point ... and that night, over good barbecue and an even better joint, the women fantasize about what it would be like to kill their boss; each woman has a unique and juicy way of doing him in that is both funny and suitable.

The plot changes drastically from here, when each woman systematically -- and accidentally -- puts a variation of her plan to action (or so she thinks), leading to all sort of misunderstandings, uncovering of big business schemes, kidnapping -- even a change in office decor!

The casting is ideal; this was Dolly Parton's first film, and she positively glows as Doralee. Jane Fonda, playing against type, is terrific as the mousy Judy, who finally finds her backbone after dealing with her husband's abandonment. And Lily Tomlin is awesome as Violet, a widow with four kids who's just trying to give her family a good life ... even if it means dumping her boss's body to do it (don't worry - this doesn't give the film away!).

It's rare to find someone who hasn't seen this great comedy -- anyone who's ever worked in an office can relate to it especially. It's funny, watching it now and seeing all the old typewriters and other office machinery that has now been replaced by computers in 2004 -- kind of dates the movie, in a way, but also adds to its charm. One of the best comedies of the 1980's, "Nine to Five" is a great way to spend a Sunday afternoon - and a satisfying tale of justice served for every one of us who's had a hellacious boss.

Not your average working stiff movie.
It is no secret that there are many managers in this world who are nothing more than tokenheads of their departments. The real movers, shakers, and go-getters are the underlings that work for the manager.

And so is the case of Franklin M Hart, Jr., (perfectly played by Dabney Colemna) a vice-president at Consolidated. Oh sure, he was nice enough as he worked his way to the top of this male-dominated firm. But once he got there, he started stepping on everyone below him, including Violet Newstead (the ever funny Lily Tomlin), the office manager. As if that wasn't bad enough, Mr. Hart continously tries to seduce his unavailable, and equally unwilling, secretary, Doralee Rhodes (Dolly Parton, making her movie debut). And when the new girl, Judy Bernly (Jane Fonda), accidentally makes a mess in the copier room, Mr. Hart tells her like it is.

After a while, the three put-upon women become friends, and after smoking a single joint together, start fantasizing about how they would put Mr. Hart in his place. Soon, however, fantasy becomes reality when Mr. Hart finds out that Violet accidentally put rat poison in his coffee.

In an attempt to stay out of jail, Violet, Doralee, and Judy take Mr. Hart hostage while they formulate a plan. Soon they discover that Mr. Hart has illegally made a profit at Consolidated's expense, and set out to get the evidence needed that will keep Mr. Hart from going to the police. But it will take nearly three weeks for the home office to send them the information. Will they be able to keep Mr. Hart under lock and key until then? Better yet, can they fool the office into thinking that Mr. Hart is still at work even though he's not?

"9 to 5" is one of those movies that you can't help but to enjoy. Funny, witty, and smart, anyone who has ever worked for a manager that didn't deserve to be a manager will enjoy watching fantasy become reality (at least, in the movie).

Released in 1980, this movie earned over $100 million (a relative rarity back then). It also earned Dolly Parton an Oscar nomination (Best Music - Original Song), three Golden Globes nominations (Best Motion Picture Actress - Musical/Comedy; Best Original Song - Motion Picture; New Star of the Year in a Motion Picture - Female), and a Grammy nomination (Best Album of Original Score Written for a Motion Picture or Television Special). She also won a People's Choice Award for Favorite Motion Picture Song.

The success of the movie resulted in two short-lived TV series (first one from 1982-1983; second one from 1986 - 1988), both of which starred Dolly Parton's sister, Rachel Dennison.

If you've ever dreamed of watching your manager get his or her just desserts, then this movie will provide you with plenty of laughs (and possibly an idea or two).

The Sane Mutiny
What happens when a group of women working as secretaries for a big company get tired of their tyrannical, chauvinistic, not-very-competent boss? The answer is lots of laughs, if the women are Lily Tomlin, Dolly Parton, and Jane Fonda, and the boss is the deliciously despicable Dabney Coleman. At first, the women just daydream and chat about silly revenge plots. Then, a golden opprtunity for real revenge comes along, and they take their shot at realizing their daydreams.

Jane Fonda was the bigget name in the cast when the film came out, but she, while okay here, is outshone by Tomlin, Coleman, and Parton. The first half of the film is funnier and better than the second half, but it's a worthwhile watcher. To buy it? Only if you get a good price on a good used one. ... Read more

Amazon.com

One of Jim Henson's finest hours was the Storyteller series that first aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. This collection of nine stories (it does not contain the Greek myths arc) were adapted by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (played with aplomb by John Hurt) with dialogue from the stories to beguiling effect; the storyteller doesn't simply introduce the tales.

A few of the stories have been available before on video, but this collection starts with the debut, the Emmy-winning "Hans My Hedgehog," the title role being a young disformed man who helps a lost king in the woods. Other highlights include "The Luck Child" about a king bent on destroying a commoner boy, known as the luck child ("the seventh son born of a seventh son on a week with two Fridays"). After a wizard declares the boy will grow up to be king. The fate of the king is one of those hooks that should have the kids smiling for days. Henson himself directs "Death and the Soldier," a brilliant example of how these episodes were so wonderfully complex. A penniless solider (Bob Peck) is given a magical sack and he uses it to full effect, capturing gremlins and greater evils on his way to be king. "Sapsorrow" is a curious variation on the Cinderella legend. "A Story Short" is the storyteller's own adventure. He makes a deal with a king to tell a story every day of the year. Yet on the last day, the storyteller's mind is a blank and his fate may lead him to a boiling vat of oil. Henson's work is true family entertainment and at only 22 minutes per episode, it's the perfect companion for some fine entertainment around the TV. --Doug Thomas ... Read more

Reviews (33)

We're almost there. . .
It's been taking the Henson company a long time to get these titles pumped to DVD, and it's nice to see The Storyteller fill the gaps in the shelves. I am still waiting for Fraggle Rock, but hopefully that is on the horizon.

I remember these as part of the Jim Henson Hour (another series I would like to see again) and they were as enjoyable to watch as they are now.

I gave the DVD 3 stars, simply because it's just that. . . a DVD. No extra's no behind the scenes, nothing added to it, just the stories, one after another in a digital format. The content and movies are great, its just that, well, there wasn't anything else. Kind of disappointing, but I'm sure back then, they didn't have a lot of cameras on the set filming behind the scenes, it wasn't the fad or desire back then.

This is a dvd though, that's not for kids. Young kids that is. Some pretty spooky moments, and the creatures can be a bit scarey. It's a fairly dark, gritty form of story telling, but fun and amusing at times.

To wrap up, its great. If your a fan of Jim, it belongs in your DVD library. No extras though, just the 9 episodes and that's it. The sound is good, picture great, just as I remember them. My only desire for some of the recent releases of Henson DVD's is to actually have more of Henson on them. He was a great man, and to hear him speak about his films and what he was doing is always a rare treat. I just wish they had more film footage of him.

Fairy tales will never be the same
I'm amazed that this series has gotten so little attention. This is Jim Henson and crew at their best, making fun of the lines between fantasy and reality, costume and puppetry, and new storytelling and old stories.

All of these short pieces were unfamiliar to me, at least in part. 'Sapsorrow' turned out to contain a story I knew, or thought I did. Part of the reason these fairy tales were unfamiliar was their authenticity. These stories were originally meant for adults. They had hard, dark edges, and were not the vapid Disneyfied versions that most people know.
Lots of kids will like these stories as much as adults do, but this may be too much for younger children. This isn't Sesame Street - it's one of the dark alleys off to the side.

The narrator is one of the unexpected treats on this disk. He opens and closes each short story, talking to his dog on a fire-lit night. The narration is a treat, too. It has a wonderful rolling cadence, too musical for regular speech but too prosaic to be a chant. It may give you some idea what the old epic poems must have sounded like in their original settings.

This is for anyone who likes fantasy, who likes a rich visual experience. You just have to see it for yourself - typed words can't begin to give the experience you'll find in this collection.

Fairy-Tales Aren't Just Kid's Stuff
I remember seeing this series for the first time years ago and thinking it was one of the most beautiful things I'd ever experienced. I still believe that when I watch it now. These stories, based on old folk legends (some woven together), have a great deal of resonance - that is why they have endured. Fairy-tales are not dumb, or childish, but rather are for those who still have the ability to enjoy the extraordinary, without needing to continually question the logic and criticise the rationality. Jim Henson was himself a modern-day storyteller, and is very much missed - they are a rare breed.
The stories are wonderfully crafted, if you wnat to be picky, some of the visual effects are a little dated (hey, it's 1987), but who cares when you're listening to such great tales!?
John Hurt is fantastic as the intriguing Storyteller, and even gets a well-deserved episode all about himself.
Hans My Hedgehog was always my favourite episode, and IMHO the Grovelhog costume is incredibly impressive. It's a genuinely touching story, and for me is on a par with The Elephant Man in terms of the tissue factor. I really wish that more of these had been made, but the ones that exist are a real blessing.
Show Storyteller to your children (I know some of you are worried about age, but I say go for it, children are darker than you think) and I am sure they will thank you profusely when they get older. As some have pointed out, they aren't always happy tales, but here is the valuable lesson - life isn't always happy. But it's still beautiful, and someting to marvel at, and learn from. Just like this DVD.
Oh, and if anyone tries to tell you it's just kid's stuff, let it go. They've lost their heart.

Just as good as it was 15 years ago.
I did not have the luxury, when I was growing up, to see these stories as they were originally shown on the Jim Henson Hour which aired in America and not until much later, in Australia. I happened upon the videos (these nine episodes were set on three videos) in a local rental shop and under extreme duress, my father rented them for myself and my sister. Much like we had done with the Labyrinth and The Dark Crystal, we were transfixed by each and every episode. The thing we loved most about them was that they weren't your usual Disney-esque fluffiness. They were based on German, Russian and Celtic folklore and are in many cases, even today, still considered quite dark tales.

Now, many, many years later, I found and bought the DVD and am quite happy to say that the Jim Henson magic is still very much there. Sure, there's no special features on the DVD and I admit I would have liked to have seen some behind-the-scenes productions that are so accessible in this format of entertainment, but what was most important is that we got the series. To be honest, I couldn't complain about the quality of the DVD, it seemed pretty good to me. If the picture was blurry, it added to the atmosphere of the story rather than from detracted from it.

Some people who are not familiar the Jim Henson Creature Shop would find these productions stupid, cheesy and very out of date, but please remember, Jim Henson was a puppeteering pioneer and set many a standard for the fantasy genre. It was also well before the marvels of CGI were used on a regular basis, so please, don't complain when you see a puppet squirrel or badger flit across your screen and say that it would have been much better as a computer animation.

If you want seamless realistic graphics, go and watch the new Lord of the Rings epics, or The Matrix movies.

If you want to recapture a charming, fanciful bit of your childhood, when we didn't need thrills and spills to entertain us, watch The Storyteller series. You won't be disappointed.

"The Best Place by the Fire was kept for the Storyteller!"
Jim Henson's most famous contribution to the entertainment world is obviously "The Muppets", but if you're looking for his best work (in terms of both visual brilliancy and depth of theme and meaning) the award would have to go to "Labyrinth" and "The Storyteller." The former is of course the famous movie starring David Bowie, but the latter was a television series that was made up of a collaboration of Anthony Minghella's screenplays that drew on a range of folklore and ancient storytelling, Jim Henson's amazing puppets and John Hurt's performance as a nameless, gnome-like storyteller who sits by the fire with his (extremely talkative) dog, speaking directly to the viewer of the marvellous things he's seen and done in his lifetime.

There are nine episodes altogether, each one about twenty-five minutes long, with a separate tale in each one. Each one is both narrated by the Storyteller, but also acted out by a separate group of actors with which the Storyteller and his dog interact with - and it's not just them entering the world of the stories (such as the Storyteller performing a card trick in the court of the king)- sometimes the stories invade their fireside hearth: figures appear in the flames of the fire, shadows perform on the sides of pots and cups, the dog looks into his bowl to see faces looking up at him, and often the Storyteller produces objects that feature in the stories as proof of their reality.

Each story is very different, both from each other and from their original source material in order to create tales that are new, but also deeply familiar. Archetypes such as foundling children, wicked stepmothers, fay-like helpers, magical implements and triad motifs are prevalient, and you'll be surprised at how many familiar faces turn up! Some of the episodes are melded from several stories (such as "The Soldier and Death" which uses three Slovac tales to piece together a longer story) but others simply change a few details from their original sources ("The Three Ravens" uses ravens instead of swans as seen in the myth "The Children of Lyr" or Hans Christian Anderson's later retelling "The Seven Wild Swans") Spotting the similarities is part of the fun of watching, but a warning to parents - not all of the stories end happily, and often the content itself can be violent, scary, enigmatic or even mildly sensual.

"Hans My Hedgehog" is the winner of several television awards, and tells a darker version of "Beauty and the Beast" and "East O' the Sun and West O' the Moon", of a woman who makes a wayward wish for a baby and ends up with a hedgehog for a son.

"Fearnot" is the story of a young man that is so cheerful and simple that he has no idea what it's like to quiver and shudder in fear. Determined to know what the sensation is like he sets of - but the answer to being afraid may lie closer to home than he thinks...

"The Heartless Giant" is the bittersweet tale of a young prince named Leo who befriends a giant that has a nest of wasps in place of his heart. But can such a creature be trusted?

"Sapsorrow" is an interesting take on the "Cinderella" legend, as well as "Donkeyskin" in which a young woman seems to be forced to marry her own father if he does not hide herself within an elaborate disguise.

"The Three Ravens" is one of my favourites - three brothers are turned into ravens by their stepmother, and it is up to their sister to break the curse by never speaking a word. But when she falls in love and finds her beloved's stepmother is the witch that caused her brother's grief her danger intensifies: her children begin to disappear, and she cannot speak to defend herself.

"The True Bride" is the story of Anja, the slave of a troll who is helped by a beautiful white lion into getting her fortune. But when her financee (Sean Bean!!) is kidnapped by the troll's daughter, she leaves all her riches in order to get him back.

"The Soldier and Death" tells of a soldier who manages to a deal with devils that results in him capturing Death itself in his sack. The portrayal of Death is fascinating, and the puppetry of the devils is amazing.

"A Story Short" is the Storyteller's own story about beggars and fleas, a cruel wife, a deal with a king and a pot of boiling oil. This is another of my favourites.

Finally, "The Luck Child" concerns a young man named Lucky who is fated to be the next ruler of the land. The jealous king sends him on a dangerous quest to prove his worth, instructing him to bring back the griffin's golden feather. The puppet of the griffin is amazing, and the humour in this episode is great: "No, you're a sensitive monster!"

Although some of the techniques used for scenery looks a little dated by today's standards, the puppets are as ingenious as ever, and "The Storyteller Collection" is an educational and intriging display of storytelling that I highly recommend. ... Read more

Reviews (57)

The Merry Widow Murderer strikes again
Hitchcock loved to subvert what others took for granted. Set in the Northern California town of Santa Rosa, Shadow of a Doubt is most subversive about the very normal, tranquil qualities of small town life. Like all of Hitchcock's most convincing and powerful thrillers, the mystery is revealed right away. Uncle Charlie (Joseph Cotton)is on the run from the police. He's endearing, charming and a serial killer nicknamed The Merry Widow Murderer. With the police hot on his trail he turns to the only place he can--home.

Uncle Charlie visits with his sister and her family in a sleepy small town. Uncle Charlie gets the chance to visit with his namesake and favorite niece nicknamed Young Charlie (Teresa Wright). They have a grand old name visiting until the past comes haunting. Young Charlie begins to suspect that Uncle Charlie is the Merry Window Murderer. What's worse, he realizes that she knows. Suddenly, he must find a way to murder his favorite niece and escape without suspicion.

Shadow is one of Hitchcock's earliest films where his favorite themes finally come together in a great collabortive effort with Thornton Wilder (Our Town). Wilder's early drafts (Hitchcock's wife and frequent collaborator Alma Reville did extensive rewrites along with Sally Benson and, of course, Hitchcock himself, as always, uncredited). Like many of the releases from Universal in the Alfred Hitchcock Collection, Shadow comes back with some interesting extras.

The documentary which includes interviews with Teresa Wright, Hume Cronyn, Robert Boyle, Pat Hitchcock O'Connell and director Peter Bogdanovich, isn't the usual slapdash affair. There's some interesting insights and observations about the film (if you'd like real insight into the film, I'd suggest the recent Hitchcock biography).

Joseph Cotton, Teresa Wright and the rest of this stunning cast capture the atmosphere (or least Hollywood's version of it with a bit more realism courtesy of Wilder and Hitchcock)of life in a small town during the 40's. It's one of Hitchcock's early American masterpieces (along with the wonderful Notorious).

The transfer looks pretty good overall. There are some minor issues with edge enhancement but the overall look of the film is very clean considering the age of the negative. It's a pity that so many Hitchcock films are spread over so many studios. Shadow would work well in a boxed set with Strangers on a Train and even Rear Window.

Charlie, think. How much do you know about your uncle?
Having just watched Alfred Hitchcock's Shadow of a Doubt (1943) last night for the first time, I was surprised at how good it was, and why I've never seen it before. I mean, I am a fan of Hitchcock, and I've seen many of his movies, but to have heard so little of this particular film seems puzzling to me, as it's an excellent film, and worthy of a lot more recognition than it seems to have gotten. Either that or I just need to get out of my cookie jar more often...

Anyway, the film, directed by Alfred Hitchcock and written by Thornton Wilder, stars a wonderful cast including Teresa Wright, who appeared with Gary Cooper the previous year in The Pride of the Yankees (1942), Joseph Cotten (Citizen Kane, The Third Man), and Henry Travers (High Sierra, Mrs. Miniver, It's a Wonderful Life). Also making an appearance is Hume Cronyn making his film debut in a supporting role as a mousy neighbor.

The story involves a family in a small California town, and the impending arrival of a relative, Charlie (Cotten), from back east. Most anticipatory is younger Charlie (Wright), named after her uncle, as she feels a deep, almost telepathic connection to this man she hasn't seen in quite awhile. Now, before Charlie's departure for California, we get a general sense of unease, as it seems Charlie is involved in something of a sinister nature. Upon arriving in California, the visit seems to be going well, as the family welcomes him with open arms, but soon we learn that trouble has followed Charlie in the form of two rather shady individuals who present themselves with a certain amount of deception, which is elaborated on later. The older Charlie's behavior begins to change subtly, perceptible only to the younger Charlie and us, the audience. As various bits of information are disseminated, the younger Charlie's begins to realize that her uncle may harbor a terrible secret that could tear apart the very fabric of her family. As her uncle's slick veneer is slowly peeled away, she eventually learns the truth, with the older Charlie realizing that the relative safety he sought in coming to stay with his sister and her family is in jeopardy. What lengths will he go to to protect himself from his past?

The film starts out very slowly, but it's obviously deliberate, as the sense of dread within the viewer is cultivated in meticulous fashion. This seems a common tactic with Hitchcock, but I did get the feeling it was more drawn out here than in most of his other films. The pacing felt very similar to Rebecca, another Hitchcock film, which was released in 1940, but while that film had a much more grandiose feel to it, this film keeps things fairly simple, which really works well. There is a good amount of leaving the viewer in the dark within the first hour or so of the film, but when the secrets of the character is revealed, the plot points prior to this fall into place nicely, making sense of these once less meaningful elements. Teresa Wright's character is wonderful as the perceptive and intelligent niece forced to make a very difficult decision between her family and her uncle, trying to deal with the consequences of whatever path she chooses. Cotten is the real standout performance in the film, presenting a very likeable character, with a highly polished exterior, but an exterior you learn is barely hiding a very ugly and, ultimately, dangerous core. He figuratively becomes the fox in the hen house, as his sinister nature encroaches upon this quiet, unassuming community. As I said before, the pacing is pretty slow, picking up moderately within the last 30 minutes (it has a running time of 108 minutes) to a very suitable and satisfying ending, one that provides a nice jolt during an already tense scene.

The print provided by Universal for this release looks very good, despite a few hardly noticeable signs of age and wear. Special features include a featurette on the making of the film, detailing why Hitchcock considered this to be one of his favorite movies he made, production notes, drawings and photographs, recommendations (to other Hitchcock films), and a theatrical trailer for the film. All in all, and excellent, if underrated, Hitchcock classic.

Cookieman108

What a Film!!!
It is sad that Santa Rosa, Ca. doesn't look like this today,but this film almost foretells the waiting, looming changes that we were about to face in our land, both to our lifestyle and our environment. Never more relevant than now.Hitchcock captured the essence of a wonderful and, now, nostalgic time in America as no one else, before or after.

5 star movie ...
While the film itself is absolutely brilliant, 'Shadow of a Doubt' loses a star for being a disappointing DVD. Considering this film was always hailed as being Hitchcock's favorite, I'm really surprised that Universal didn't roll out the red carpet when it came to the disc's bonus features.

I completely expected to see the same TLC that made the 'Rear Window', 'Vertigo', and 'Psycho' DVDs such an education to watch. Instead Universal didn't even seem to think 'Shadow of a Doubt' warranted a simple wide-screen format.

I loved the film and will always think of it as one of my favorites among Hitch's works. I can't help but to be disappointed that it seemed to fall to the way-side when it came to the attention I felt it should have commanded in its reproduction and formatting though.

I'll Go With the Masses on This One
No question about it: this one of Hitchcock's best, and it ought to be a lot better known.

There's some truth in the contention that much of Hitchcock's work is based on flimsy plotting, gimmickry, and attractive stick figures racing from one scene to the next just a step ahead of sense or logic. This is easily seen even in much-admired films like "North by Northwest".

But "Shadow of a Doubt" (along with "Vertigo" and the first half of "Psycho") gives the lie to the claim that this was all there was to Hitchcock. This is a film in which every turn of the narrative is governed by the development of character, as a girl matures from giddy teenager to strong (and even deadly) young woman while grappling with the knowledge that her beloved uncle is a serial killer.

The acting is uniformly outstanding. Cotten is in full lounge-lizard mode here--nobody ever enunciated a perfectly-balanced sentence with more venom. Hume Cronyn plays a neighborhood geek almost--but not quite--to the point of parody. But it's Teresa Wright who takes the prize here. Wright was a pleasant but unremarkable presence in a number of films, but in "Doubt" she really shows what she was capable of. Consider the expression on her face as she descends the stairs in the climactic scene, and how easy it would have been to overplay it.

Perhaps it was the influence of Wilder (though his biographers state that he actually didn't really do much work on the picture), but "Shadow of a Doubt" is one film in which the master outdid himself, stepping beyond the limits of entertainment into something approaching art. ... Read more

Reviews (62)

A very funny movie about an unrealistic concept
Could anyone really create a girl on their computer in 1985? Probably not, but that doesn't stop Gary (brat packer Anthony Michael Hall) and Wyatt (Ilan Mitchell Smith) from giving it a shot. Mystical forces soon take over and the two high school losers are left with a beautiful bombshell who is willing to fulfill their every desire. Every boy's dream, right?
Well, not exactly. They are so inexperienced and scared that they don't know what to do with the wild party girl. The movie walks us through their journey from quirky geeks to studs when they finally stand up for themselves.
The two guys have great comic chemistry with Kelly LeBrock, computer babe Lisa and create many laughable encounters with each other and other characters. Bill Paxton, a more serious actor today, is convincing as the rotten Chet. This is the role I will always remember him for, no matter what other movies he goes off to make about ghosts or twisters.
Director/writer John Hughes delivers another timeless gem about teenagers, continuing with the traditions of "The Breakfast Club" and "Sixteen Candles." Here he gets a little sillier, but still remains clever and true-to-life.
DO watch this movie uncut on VHS or DVD if you really want to enjoy it. Cable TV does it absolutely no justice.

How about a greasy pork sandwich served in a dirty ashtray?
Of all the John Hughes-helmed 80's-teens-living-in-a-quaint-Chicago-suburb dramatic comedies, "Weird Science" is my favorite. While it's yet another take on on the 'losers who show everybody up in the end' genre of comedy that was so big at the time ('Revenge of the Nerds', anyone?), I find it far more hilarious than "Ferris Bueller's Day Off", and much more fun to watch than "The Breakfast Club". And you can hardly beat 'WS' when it comes to showcasing the fab fashions of the era. Ya know, big over-moussed and/or -crimped hair styles, narrow ties, pastels, spandex, and an overall lack of good taste that only the 70s can beat...

The two teen losers Gary (Anthony Michael Hall) & Wyatt (Ilan Mitchell-Smith) have some great lines-- most of which I can't print in this review, but take my word: many of 'em are pretty freakin' funny. Bill Paxton's portrayal of nasty big-brother Chet was definitely a springboard for his career of playing whiny scumbag-type characters (remember Hudson from "Aliens"? Or the weasely car salesman from "True Lies"?). Robert Downey Jr. even makes a strong appearance, looking very much the epitome of 80's suburban new-wave fashion as one of our heroes' many tormentors, many years before his substance abuse problems made the headlines in the Hollywood gossip pages.

And then there's Kelly LeBrock as Lisa, a new take on 'Frankenstein'-- oh man, the wrong things I'm thinkin' as she struts about in the various outfits she throws herself into... and out of. Oh yes, heh. Er, excuse me; I gotta go hose myself down...

Okay, hormonal balance re-established, thank God. Speakin' of Lisa: my favorite part is where she takes the geeky buddies out to a bar with a predominantly black clientele. As Gary (Anthony Michael Hall) drinks himself into a near-stupor he becomes "pimp-daddy", doing the shuckin'-and-jivin' routine that Eminem couldn't even hope to touch. Amos 'n' Andy move over! Another great scene is Lisa letting Gary's parents know just what'll be goin' on at the house party she's taking their son to. Their overwrought reaction and Gary's complete embarrassment to her brutal honesty here is priceless!

Please note that there are two versions of 'Weird Science' on DVD. The latter release, part of Universal's "High School Reunion" series, includes the original soundtrack used in the theatrical version, as well as a much clearer and brighter picture, and superior audio quality and separation than the former release. Oh, and it also includes the original theatrical trailer as a bonus feature, and English subtitles. Unfortunately, the subtitles only catch about two thirds of what the subjects are actually saying 'cuz much of the dialogue is fairly swift. Otherwise, this is the best video release of the film to come out yet, and is a highly recommended addition to any 80s-teen-comedy fan's video shelf.

'Late

Chips, dips, chains, whips...
This is one of the great 80s flicks, courtesy of the great 80s flicks guy, John Hughes. There are a hundred moments in this movie that flash me back to being an awkward 13 year old dork (as opposed to the awkward 32 year old dork I am now). And so many great lines! "Do you realize it's snowing in my room, godd**it?" Or when Gary opens the bathroom door and the cute girl asks, "What are you guys doing in there?" "Gary was just takin' a s**t!" *flash to a hand slapping Wyatt's face*

And, ya gotta love the bar scene, where a drunk Gary "tells his tale."

Anyway, it's a funny, funny movie, and highly recommended to anyone who loves the John Hughes 80s. An essential!

More 80's dribble that we can't get enough of
This is another movie from the best decade in recorded history. Sure it's far out, unbelievable, and silly, but that's why we love it. I remember when this movie first came out Kelly LeBrock (The creation) was supposed to be 'the next big thing'. But hey, who wouldn't their woman going into a lingerie store and asking "Do you have this in black leather or barbed wire?"

Anthony Michael Hall is 'Dr. Frankenstein' and along with his dweeb partner, create the perfect woman with a Barbi Doll and a computer that could barely play Pong without crashing. My God do you remember those 5.25 inch floppy diskettes??

Well what else do we have, grandparents get frozen in a closet, the bully big brother turns into a green mucus pile with eyes, a clean Robert Downey Jr., a British Mad Max motorcycle gang in the living room, and oh yes, a nuclear missle growing out of the basement and through the roof.

Some things are dated, but boys wearing bras on their heads will never go out of style.

Weird Science
This movie is the best "retro" comedy movie in cinema history!!! It keeps you laughing through the whole movie! Not just giggling, but the kind of pee-your-pants laughing.I think the best scene is when the blonde kid gets drunk at the club...the way he slurrs is HILARIOUS!!! ... Read more

Reviews (53)

an underrated cult movie!
This was one of those big budget, high concept films of the '80s that the studio had high hopes for but ended up belly-flopping at the box office. It's a shame, really, because this is a wonderfully entertaining B-movie with A-movie production values.

Yeah, most of the songs (with the exception of the two awesome tunes by The Blasters) are horribly dated and totally inappropriate for the look and vibe of this movie (what do you expect? they were mostly written and/or arranged by the guy who produced Meatloaf's BAT OUT OF HELL -- ugh), which should have gone more with rockabilly and old school '50s rock 'n' roll instead, but oh well.

Michael Pare delivers his finest performance in this one as the silent tough guy Tom Cody and he has real chemisty with old flame Diane Lane who is perfectly cast as the rock singer who needs to be rescued. This was at the time when both of their careers were read hot (esp. Lane's after doing all those awesome Coppola films!) and this film was supposed to launch their careers into the stratosphere. Doh.

Surrounding them is a great cult cast of character actors... Rick Moranis as the annoying manager, Amy Madigan as the butch soldier-of-fortune, Willem Dafoe as the nasty, leather-clad bad guy and the blink-and-you'll-miss-'em cameos by Bill Paxton (great hair!), Lee Ving (from the punk band Fear), Ed Begley, Jr. (what the?!), Robert Townsend (I'M GONNA GET YOU SUCKA!) and a young Mykelti Williamson (Bubba Gump!).

This was also Walter Hill at his finest. After this, with the exception of JOHNNY HANDSOME, it was pretty much all downhill. But, man, he had a good run until the bottom fell out.

The transfer on this DVD is top notch with kickin' sound that really comes out if you've got the proper home theater set-up. It's a real shame that the studio didn't let Hill or anybody else involved provide some new extras! C'mon! If commercial flops like UHF and NEAR DARK can get awesome special edition treatments then so can this one!

A Terrible Movie That You Can't Help But Love
Personally, I really like Streets Of Fire, but strictly speaking, it's terrible. The script is really bad and the dialogue is some of the worst I've ever heard. However, it can be very fun to watch. The cinematography is excellent, and the beginning and ending concert scenes are the reason I bought this dvd in the first place (I'm a huge Jim Steinman fan). It really is fun to grab a few friends and some snacks and just laugh at Rick Moranis and Michael Pare overacting their corny lines. It also has Elizabeth Daily, whom you may know as the voice of Buttercup on The Powerpuff Girls. I love her! She's a joy to watch. I was dissapointed in the lack of special features on the dvd, and somehow I don't think there will be a special edition version. But hey, it's always amusing to watch corny dialogue transform into corny French dialogue, right?
Simply put, if you're a fan of cheesy movies and you don't take things too seriously, you will probably get a kick out of this film.

A "Grows on you kind of flick!"
Ok...when I first saw this movie the first thing out of my mouth was..."Ok...what was that all about?" lol...but after watching it again...and being a really big (self-proclaimed) Michael Pare fan, I gave it another try, and was really suprised that I enjoyed it! It grows on you...it's a "You can't help but love it" kind of film! The more you watch it, it becomes a guilty pleasure! A must see...if you like the kind of movie that you can love, and still think..."WOW...I really like that?!?!?!"

"You can kiss your baby goodbye."
If you recognize the name Ellen Aim you know your cult sci-fi rock movies, or, as director Walter Hill called his 1984 film Streets of Fire, your "rock and roll fable[s]."

Ellen Aim and the Attackers are a band that plays in an alternate version of the eighties, or maybe an alternate version of the fifties. It's either the eighties that couldn't let go of Elvis and pre-British Invasion rock and roll, or it's the fifties anticipating an urban underclass where everyone is on the edge of violence. Walter Hill loads the movie with a retro neon look, blending genres, similar to what he did in 1979's The Warriors, where he mixed the post-war social-issue movie with the seventies exploitation film, along with some ancient Greek history. (As Cyrus, the would-be savior of all the warrior gangs, booms at us, "Can you dig it?")

Michael Pare (as Tom Cody) stars in Streets of Fire. Cody's just out of the army in a what-if America that still has the social restraints from fifties Tab Hunter movies, but wallows in the corruption and depravity of Reagan's eighties. On this particular morning in America it's raining and everyone's on the verge of killing someone. Willem Dafoe's first appearance as Raven, the villain in black rubber, fresh from God knows what perversity, to the song "One Bad Stud" performed by the Blasters ("If he likes your baby, you can kiss your baby goodbye"), may be what got him typecast as a psycho in so many movies.

But in a fifties movie there has to be a love story. You can't have a guy without a girl. There has to be a Natalie Wood for James Dean, even if the romance is between James Dean and Sal Mineo. In Streets of Fire, Michael Pare's Natalie Wood is Diane Lane as singer Ellen, who Aims her Attack straight at your heart while she caresses one of those old round microphones that look like a hood ornament. Raven kidnaps Ellen and her old boyfriend Tom Cody (Buffalo Bill to the rescue) is called to save her. Unfortunately, Lane doesn't get to do much more than play the frail here.

Cody's real emotional connection is with McCoy (Amy Madigan), another vet who makes Cody hire her to rescue Ellen. McCoy brushes off Cody's half-hearted passes with "You're not my type." McCoy wears greasy old clothes and fixes cars better than Cody so I think I get the point. Especially when McCoy leers at a female nude dancer at the club where Ellen is being held. It seems like the movie was going to be more explicit about McCoy's sexuality but chickened out.

I won't spoil the story but you know how it ends.

I have a soft spot for movies that are original, even if they're not entirely successful. The music's good, the look of the film pulls you into its unique world, and the story is one of those mythic restatements that move you even when you know they're corny.

Yes, cheesy but the best kind though...
I truly love this movie, even though it is chock full of horrible writing and over acting, but all of this is done in a very cool way. I like to think of this as a pirate movie only on land with a bunch of bikers, cool cars, and tons of film noire dream like quaility action going on. Plus a great sound track to go with it. If you like Micheal Pare I recomend checking him out in Eddie and the Cruisers 2: Eddie Lives! instead of Eddie and the Cruisers. He's much more interesting in Eddie Lives! and it has a much better soundtrack with incredible songs done by John Caffhery and the Beaver Brown Band. ... Read more

Reviews (222)

Great Adaptation
A wonderful up to date retelling of Jane Austen's, 'Emma'. Cher (Silverstone) has a privileged life, she goes to a great school and is popular along with her good friend Dionne (Dash).

She lives with her widowed father (Hedaya) and the only pebble under her perfectly manicured feet is her ex step-brother Josh (Rudd).

Cher loves to play matchmaker and can't resist the challenge when she meets the new girl in school, Ty, who isn't exactly 'popular' material at first glance. Having taken her under her wing and given her a complete makeover, Cher then tries to match her up with various boys.

This is alright until Ty takes a fancy to Josh and then Cher suddenly realises that she has feelings for him herself - but who will get the man?

Silverstone is absolutely fantastic in this film. She handles the difficult role SO well and you can't help but really like Cher and want her to get the man of her dreams for all her obvious flaws.

Add a brilliant combination of comedy, both oneliners and visual, and the fact that it's literally such a colourful movie and you've got yourself a film that will leave you smiling for ages afterwards.

Classic! Classic! Classic!
This clever, modern retelling of Jane Austen's novel "Emma " was one of the best high-school theme films made in the past twenty years. Written and directed by Amy Heckerling ("Fast Times at Ridgemont High"; "Look Who's Talking) spent a year in the lives of several teens at various high schools in Los Angeles to give the filmgoer a truly authentic look at life among the young social elites of Southern California.

Alicia Silverstone ("Excess Baggage"; "Batman & Robin") stars as Cher Horowitz, a young, hip teen residing with her lawyer father (Dan Hedaya) in Beverly Hills. Along with best friend Dionne (Stacey Dash of "Mo' Money"), the girls are the doers of social good deeds at their high school. Whether it is trying to play matchmaker for two lonely teachers (playwright Wallace Shawn and Twink Caplan, who is also an executive producer of the film) or doing a serious make over for Tai (Brittany Murphy) a new, dowdy student from the east coast, Cher is the toast of the school among her peers.

However, playing matchmaker for others has made Cher realized that she too needs to find someone special in her life. Pestered by her ex-stepbrother Josh (Paul Rudd) in doping deeds that benefits others and not only herself, Cher discovers that what she truly needs is a spiritual makeover that will allow her to attain happiness and respect. Yet, she wonders why it bothers her so much on what Josh is thinking? As the story progresses, we discover that opposites attract and Cher has realized how "clueless" she was while looking for Mr. Right.

Wonderfully directed and casted,"Clueless" features some memorable performance by Julie Brown (as Ms. Stoger, the physical education instructor), Donald Faison (as Dionne's boyfriend Murray) and Justin Walker, as Christian Stovitz. Walker who plays his role with comedic sensibility is great and witty as the boy Cher has the hots for, although she has little knowledge about his background.

"Clueless" is one of the best films released in the 1990's due to his smart use of popular lexicon, icons, and attitudes that can be attributed to most American teenagers. This is Silverstone's greatest performance to date, seeing that most of her later works did not go well with critics or filmgoers. Although a television series based on the film was launched in 1997, it couldn't capture the charm, wit, and performances of this film. "Clueless" is a classic teenage film you can watch over and over again. It's destined to become a cult classic

Clueless... uhhh
What can I say about this movie? It's like any other teenage movie, about teenagers in high school trying to meet cute guys and stuff. Same old thing! I used to not like it at the beginning, but now I sorta like it, it's alright. I got it as a present for my 8th grade birthday party, I didn't even know that movie until I got it. So anyways, I think you should buy this movie even if you dont like teenager movies, youll like this one!

ditsy fun!!!
Have you ever wanted to watch something ditsy that also makes you think while laughing? Alicia Silverstone shines in the role of Cher, the daughter of a wealthy lawyer who has style and loves to make people happy through friendship and makeovers. However, she cannot make herself happy even though she strives to make a difference in the world. People don't take her seriously. People think that all she is good for is shopping. She helps an outcast named Tai become the most popular girl in school, and she realizes that she is jealous of Tai. She realizes that she must give her soul a makeover! It's Legally Blonde, but smarter! A great comedy with a great cast!

THE ULTIMATE TEEN MOVIE-A CLASSIC
I love this movie so much that its not even worth talking about, because no words will express what a brilliantly put together,acted, written and presented film this is.And talk about feel-good, and FUN.Also, Clueless is living proof that there are teen comedies out there that aren't dumb, over the top shallow.Yes, Clueless is a light, and fluffy film, but since that is what it sets out to do(be light and fluffy and entertaining),thats just fine.And it accomplishes that goal perfectly-Clueless is a film second to none in its genre.

What sets it apart from other dumb tripe out there and makes it enjoyable for even the most weary of grown-ups is its great cast, unbelievably witty writing, and irresistable storylines that you can't help but get caught up in. The whole cast is great, but Alicia Silverstone is unforgettable.It is a pinnacle leading role for actresses in teen movies.She simply sparkles from scene one.An who could ever forget the sets and costumes??

Simply, a classic in the genre, and one of the best comedies of the nineties.A weekend popcorn movie to curl up in bed with that also has wit and charisma and intelligence to boot.Not to mention, its still not old after the fifth billion time. ... Read more

Reviews (200)

One of the best classic horror films of all time.
My opinion of this movie, The Birds, is that it is a masterpiece of it's own time. This was a great piece of classic horror; Alfred Hitchcock did a fantastic job. The special effects were very believeable, especially for coming from the early sixties. I still haven't figured out how they got all of those birds to attack, or if half of them were fake. Also, Hitchcock did a great job of showing blood and gore when it was qppropriate, like when Jessica Tandy as Lydia Brenner finds Lonny Chapman as Deke Carter with his eyes pecked out. The movie did, however, lack music so this made it kind of drag along. Music would have paced the movie, and also added suspense and other effects. Tippi Hedren as Melanie Daniels was a bad actress. She showed no real emotion and always seemed to be worried about her appearance instead of her acting. I really noticed this in the bedroom scene, when she was being attacked, and she didn't even scream. Rod Taylor, who played the role of Mitch Brenner, was a great actor. He seemed real and Believable. He showed emotion in every scene, and his overall performance was pleasant. Jessica Tandy is great in all the films she is in, and this one was no exception. As Lydia Brenner, she did a great job of acting rude and mean to Melanie Daniels through out the whole movie. I was, however, very annoyed with the young actress that played Cathy Brenner. She was a horrible actress with over-elaborate emotional breakouts, and when she cried after she was attacked, it was so annoying, I thought my ears were bleeding. The ending to the film was very bland. There should have been more closure to the whole situation instead of just making you wonder what happened to them. The Birds is nothing like modern day horror films. It takes a more believeable line to horror than most modern day films. Modern horror consists mostly of the supernatural or total carnage. Although I would still put The Birds into a category with any modern day horror flicks, I still believe that it is definitely classic horror.

A nightmare comes to life - thanks to Hitchcock!
Although Alfred Hitchcock is widely regarded as the greatest director of suspense and "thriller" movies in Hollywood's long history, in his direction of "The Birds" (1963), he outdoes himself. Even more than "Psycho", which started the modern "slice-and-dice" genre of horror movies, "The Birds" is a truly disturbing and surreal experience - a nightmare which comes to life on film. In my opinion "The Birds" is unlike any other Hitchcock film - it actually comes closer to movies such as "The Sixth Sense" or even "The Matrix" in the way it takes the "real world" we are all familiar and comfortable with and turns it into something that will cause you to lose sleep at night. The film's plot is deceptively simple: Melanie Daniels (Tippi Hedren), a rich and rather spoiled young woman, meets Mitch Brenner (Rod Taylor), a handsome and rather mysterious man, in a pet store in San Francisco. She is intrigued enough to follow him to his home in Bodega Bay, a charming but isolated small fishing town on the northern California coast. There she meets the local schoolteacher, Annie Hayworth (Suzanne Pleshette), who once had a brief affair with Mitch. Annie takes an immediate dislike to Melanie and her interest in Annie's old boyfriend. Eventually Melanie meets Mitch's mother (Jessica Tandy), a high-strung and suspicious woman who leans upon her son for emotional support and stability. However, this soap-opera style plotline is simply the background for the REAL story in the movie: as the film progresses the birds in Bodega Bay and the surrounding countryside begin to act strangely - they suddenly attack humans for no apparent reason, and start gathering in large and ominous groups on power lines and rooftops. Eventually the birds become murderous - they kill a local farmer by crashing through his bedroom window and hacking out his eyes. Then they attack the schoolchildren and the townspeople in yet another of Hitchcock's famous film sequences. As the frightened and baffled townsfolk are hemmed into their homes and stores like "birds in a cage", they blame Melanie for bringing this terror into their once-peaceful little town. The film's famous climax occurs at the home of Mitch and his mother, as a massive flock of birds attacks the home at night and tries to get inside to kill our heroes. To make this film even more disturbing and bizzare, Hitchcock decided not to have a musical score, and there is no music whatsoever - only the terrifying screeching of the birds as they attack. What makes this film work is how Hitchcock deftly takes "everyday", normal things - such as sitting on a park bench and smoking a cigarette, and turns it into something bizarre, surreal, and truly frightening. Although some critics have refused to label this film as one of Hitchcock's best, it does rank as one of the scariest thrillers of all time. Beware of "The Birds"! (But you'll love the movie).

Beware THE BIRDS!!!
The Birds is one of my favorite Alfred Hitchcock films. Perhaps that has a lot to do with the beautiful Tippi Hedren, who shines in everything she does. The gorgeous scenery, adorable costumes, and lavish colors also add to the surreal atmosphere, which quickly gets disrupted by a flock of killer birds. Like many firsts Hitchcock introduced with his films, this is the first "nature run amock" film, just like Psycho was the first "slasher" film. This Psycho follow-up was yet another ground-breaking addition to the horror genre and further revealed the master director's darker obsessions.

Like Hitchcock's fabulous Rebecca and mediocre Jamaica Inn, this is based on a story by the extremely talented Daphne Du Maurier, but Hitchcock was left with the task of fleshing out the short story into a feature film. He did one hell of a job. Hitchcock and screenwriter Evan Hunter borrowed only the title and basic conceit of Daphne du Maurier's 1952 short story, "The Birds." Du Maurier's tale, conventional and utterly humorless, is a Cold War parable that uses the unexplained bird attacks as an apocalyptic metaphor for nature thrown out of balance by technology and warfare. It's told from the perspective of Nat Hocken, a disabled war veteran and farmhand living in a cottage with his family in the British Isles.

The film version is set in Bodega Bay and follows bored, spoiled socialite Melanie Daniels (Hedren) as she romantically pursues dashing lawyer Mitch Brenner (Rod Taylor). Tension soon develops among Melanie, schoolteacher Annie Hayworth, Mitch's former flame (Suzanne Pleshette), and Mitch's domineering mother (Jessica Tandy). The emotional interplay is interrupted (and reflected) by the sudden and unexplained attack of thousands of birds on the area.

Hailed as one of Hitchcock's masterpieces by some and despised by others, THE BIRDS is certainly among the director's more complex and fascinating works. Volumes have been written about the film, with each writer picking it apart scene by scene in order to prove his or her particular critical theory--mostly of the psychoanalytic variety. Be that as it may, even those who grow impatient with the slow build-up or occasional dramatic lapses cannot deny the terrifying power of many of the film's haunting images: the bird point-of-view shot of Bodega Bay, the birds slowly gathering on the playground monkey bars, the attack on the children's birthday party, Melanie trapped in the attic, and the final ambiguous shot of the defeated humans leaving Bodega Bay while the thousands of triumphant birds gathered on the ground watch them go.

Eerie, scary, and suspenseful, this is a great film and classic Hitchcock, which highlights his genius. There is no sound track to cue the audience in as to when to be scared. And what other filmmaker could take the simple sound of wings fluttering in a house and turn it into the sheer sound of terror?

Hitchcook can make anything scary.
Hitchcook can make anything scary, and this movie is profff, I don't no how fake birds can be scary but they are, in this film anyway.

It all starts with an opener that's more like 2 people trying to play a joke on eatchother, and ends with a tailhanger ending, paked with scares and creeps this is a must see.

Tense thriller is a winner
This eerie Hitchcock thriller doesn't have a shower scene but is has its fair share of suspense, dread and anticipation as to when the birds will attack. Filmed in color and without the accompaniment of music, the movie builds steadily towards tense and dangerous moments when hundreds of blackbirds swoop down on the human populace and scratch, peck and claw them to shreds without rhyme or reason. Even a lone seagull gets in its licks on Melanie Daniels who has followed Mitch Brenner to Bodega Bay to close in on the handsome fellow. The film has several attacks in which adults and school children are ravaged, and the air assaults are frightening to watch. The dangerous birds' unexplained sheer destructive force is displayed in the attack in a bedroom where the unfortunate Ms. Daniels is trapped, and their determination to destroy every human in their path is awful to behold. The movie's special effects are first-rate, and the gloomy, overcast skies of the Northern California coast add to the depressed mood of the film. The characters all seemed detached and distant from each other and although Ms. Daniels tries very hard to connect with Mr. Brenner, the romance angle is never developed. ... Read more

Amazon.com

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon ... Read more

Reviews (64)

THIS MOVIE SHOWS THE WIDE RANGE OF THE GREAT EDWARD NORTON.
"Primal Fear" is an entertaining thriller with some plot twists, good performances and interesting story. But the best part of the movie is the Edward Norton performance, he steals the show from good actors every time he appears on the screen.

The movie introduces a cynical, narcissist and ambitious famous lawyer Martin Vail, he is played by Richard Gere, and of course he has no problem with the role because Richard Gere is cynical, narcissist, ambitious and famous. Anyway, when Martin Vail watches on TV the arrest of a boy accused of the homicide of a Chicago archbishop, he immediately sees the opportunity of raise his profile by defending the boy.

Then he meets Aaron Stampler (Edward Norton), a quiet and harmless boy; then the lawyer realizes that Aaron is innocent. After that, the movie becomes an entertaining thriller / mystery / courtroom drama, with some plot twists, interesting characters and revelations.

But the most interesting part is to see all the changes and emotions that Edward Norton prints in his character; he is just an amazing actor, his performance is by far the best in the movie. After this film, Norton delivered his best performance in American History X, and established himself as the best actor of his generation.

A more than solid thriller, with a twist
When I had first laid eyes on Primal Fear on pay-per-view years ago I had first dismissed at as another Hollywood who-done-it courtroom drama with no originality. And was I ever wrong. Primal Fear may seem like something you've seen before, but the clever, highly intelligent, and twisting script makes the film soar to unexpected heights, and Edward Norton's breakout performace as murder suspect Aaron has to be seen to be believed (Norton would receive a Golden Globe and his first Oscar Nomination for Best Supporting Actor which Cuba Gooding Jr. ended up winning for Jerry Maguire). Richard Gere has the starring role playing Norton's lawyer who seems to be the only one who believes Norton's innocence. With a super twist ending and a superb all star cast which includes Laura Linney, Frances McDormand, Steve Bauer, John Mahoney, Maura Tierney, and Andre Braugher, Primal Fear is a near superb little gem that I strongly suggest seeing.

You gotta be kidding!!!
This is a great movie with interesting plot twists?? I groaned throughout this movie. So predictable....the egotistical lawyer, his ex-lover DA, the dialogue, the acting....ughh. Nothing more than a basic Hollywood formula movie.
I will watch this occasionally to remind me what a recycled , done before, same old same old Hollywood type movie and how much I hate them. I guess some people get off on the same old stuff. Well if you don't, I warned you.

Murder and Misdirection.
"Fui bailar no meu batel alem do mar cruel," sings modern fadista Dulce Pontes in this movie's dynamic title song: "I went dancing in my boat, there on the cruel sea." And it must be just like a nutshell-sized boat dancing on a stormy ocean's waves that nineteen-year-old Aaron Stampler (Edward Norton) feels after his arrest for the savage murder of Chicago's saintly Archbishop Rushman. Or does it?

Certainly it doesn't help that Aaron was caught running from the crime scene, covered in blood, and with the archbishop's ring in his pocket. Besides, who is going to believe him anyway - a stuttering, uneducated boy from rural Kentucky who was found begging by the powerful clergyman, taken in as an altar boy and made to sing in his choir - that he was present when the murder was committed but can't remember a single thing because he blacked out? Nobody; surely not the police and ADA Janet Venable (Laura Linney), assigned by D.A./Rushman friend Shaughnessy (John Mahoney) personally to try the case, with the express mandate to obtain a death penalty conviction. Nobody, that is, except Aaron's defense attorney Martin Vail (Richard Gere). Vail, of all people: the flamboyant ADA-turned-private-practitioner, the star attorney not shying away from even the shadiest client, to whom TV and magazine cover interviews are as second nature as his courtroom appearances, and who cynically quotes as his mottos a professor's maxims on his first day in law school: "From this day forward, if your mother says she loves you, get a second opinion." And: "If you want justice, go to a whorehouse. If you want to get f**ked, go to court."

"Primal Fear" was adapted from William Diehl's like-named bestselling novel and, like in many literary adaptations, its screenplay is a hit-and-miss affair. Not successful, in my view, are those alterations that unnecessarily make Vail an even more ethically questionable lawyer as already conceived by Diehl; such as the way he becomes Stampler's attorney in the first place (which in the movie amounts to blatant client solicitation; not to mention that no sane lawyer would introduce himself to a potential client with the words "I'm what you call a 'big shot' attorney"), and the circumstances surrounding the discovery of a tape revealing the archbishop's not-so-nice private side (which in the novel isn't found by Vail but by his investigator Tommy Goodman [Andre Braugher]: of course that doesn't eliminate Vail's ultimate ethical responsibility, but contrarily to the movie, at least he doesn't "borrow" the tape from the crime scene himself, and he doesn't know in advance what Tommy is up to). Further, in the book the tape is not shown in open court and immediately introduced into evidence but viewed in the presence of only the judge and the attorneys, which given its contents seems more realistic (even if it were later introduced into evidence after all). On the other hand, particularly regarding the main characters the movie's alterations work well: Unethical or not, Richard Gere's Martin Vail is even more interesting than the character devised by Diehl; moreover, an unnecessarily cliched, ultraconservative judge nicknamed "Hangin'" Harry Shoat becomes an - although still tough - overall more multidimensional Judge Miriam Shoat (Alfre Woodard); similarly, Vail's mafia-affiliated client Joey Pinero (Steven Bauer) gains considerably in stature; and although it actually reinforces cliche to shift the love/sex relationship from the book's present one between Vail and psychiatrist Dr. Arrington (Frances McDormand) to the screenplay's past one between Vail and Venable (which the ADA now derogatorily calls "a one-night-stand [that] lasted six months"), thanks to Gere's and Linney's considerable on-screen chemistry their characters' personal relationship adds sparks and tension to their professional rivalry that also lend greater credibility to the final courtroom scene's powder-keg explosion.

Outstanding as all of its actors are, however, "Primal Fear" rises and falls with the performance of Edward Norton, and it is his breathtaking achievement that validates the movie more than anything. Then-newcomer Norton not only had to portray a boy almost a decade younger than himself (which he manages flawlessly) but also an incredibly complex character, sometimes shifting behavioral patterns, accents and manners of speech from one sentence to the next; and he delivers supremely, deservedly garnering an Oscar nomination (which in a year of extremely tight competition he lost to Cuba Gooding Jr. for "Jerry Maguire"), as well as a Golden Globe and several other awards, and together with his roles in "People vs. Larry Flynt" and Woody Allen's "Everybody Says I Love You" playing himself into public awareness once and, hopefully, for all.

Although "Primal Fear" is often cited for its final plot twist, anybody who has seen more than that occasional thriller can see its end coming somewhere halfway through the narrative (and I think that's true for both book and film - although I admit I hadn't read the novel when I first saw the movie). Moreover, the final twist depends on a feat on the part of Norton's character that lawyers and psychiatrists alike will find hard to take at face value. Thus, at first viewing this movie's end may appear a bit of a let-down. But trust me: The story grows on you the more often you watch it, and in my view it actually helps to know the end, because not only does this enable you to see the many nuances you necessarily missed the first time around; it also frees you to think about the moral issues addressed. For those reasons, and for the entire cast's - first and foremost Edward Norton's - fine performances, this has long become one of my favorite courtroom thrillers.

"[I believe that] things are not always as they appear, that sometimes facts can be manipulated the way a magician manipulates an audience. He distracts you with this hand, while the other hand does the tricks. It's called misdirection." - "Primal Fear," preface: from Martin Vail's summation in a case entitled "The State vs. Nicholas Luma."

Primal Fear (1996)
Director: Gregory Hoblit
Cast: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alre Woodard, Frances McDormand.
Running Time: 130 minutes.
Rated R for language, perverse sexual situations, and some violence.

Rarely is a psychological thriller/courtroom drama so intense, intellectual, and mind-blowing. "Primal Fear" is an excellent adaptation of the William Diehl bestselling novel, using a stupendous cast, an equally riveting screenplay by Steve Shagan and Ann Biderman, and fine direction from virtually unknown Gregory Hoblit. Red herrings and duplicitous plot twists are woven tightly into the film about a hotshot defense attorney named Martin Vail (Richard Gere) who goes looking for the limelight and finds it filled with shadows.

When a popular archBishop is brutally murdered in his illustrious home, a terrifyed young altar boy (in an exceptional, eerie role by newcomer Edward Norton--who would later become a star because of the film)is arrested as a suspect and held into custody. Due to the magnitude of the case, Vail leeches onto it and decides to defend the young man. Little does he know that he will uncover a viper's nest of corruption, pit him against a prosectuor (Laura Linney in a fine role) who happens to be his ex-lover, and hope to find the truth of a case that tests his will and win-at-all-costs attitude.

Gere is stupendous as the fame-hungry, confident lawyer, while Norton steals the film as he reveals the inner demons of the poor suspect. "Primal Fear" is one of the most well-made thrillers of the 1990's and is a film that emphasizes what is right and wrong about our judicial system, questions the legitimacy of the courtroom, and taps into a fear of the psychological unknown. A finale that will, if nothing else, shock you and make you think. An absolutely great drama. ... Read more

Reviews (187)

"I haven't been home in years"
In my opinion this is John Candy's best movie. They should dedicate it to him. Steve Martin does a great job playing the cynic. It will have you crying from hysterical laughter or from tugging at your heartstrings. It starts out with "Neal" played by Steve Martin getting out of a marketing meeting late in New York during rush hour he runs to catch a cab for the airport so he can spend Thanksgiving with his family. With two days to get there you figure he should be plenty early. You aren't counting obstacles like "Del" played by John Candy. While Neal is giving money to a lawyer to buy him out of taking a cab in front of him, Del loads his trunk in it and takes off. The meetings and journey these two have after that is one for the record books. Del does everything he can to get Neal home to his family. They must take a Plane, Pickup Truck, Train, Bus, Rental Car, Semi, and the El to make it to Neal's Chicago Home with a detour to Kansas City. Neal may miss his daughters Thanksgiving Play but he will get a life lesson from Del that is priceless. This is a great one to own on DVD.

Any transportation will do!
Steve Martin and the late John Candy team up for this hilarious comedy PLANES,TRAINS and AUTOMOBILES. There's a cameo by Kevin Bacon who grabs a cab in the heavy New York City traffic. Bacon starred in SHE'S HAVING A BABY filmed around the same time as this film. Neal Page(Martin) is a marketing executive who plans to return home to Chicago for Thanksgiving. Neal grabs a cab,throwing out Del Griffith(Candy) who was about to enter the cab. Salesman Griffith and Page meet in an airport about to fly to Chicago. Massive storms forced the Chicago flight to be canceled so the two end up in Wichita,Kansas. Page and Griffith check in at the Braidwood Inn. They both take out their credit cards to pay,thus their respective cards accidentally end up in the other's wallet! Page and Griffith share a room since it was the only available room left. They sleep together,thus Page becomes annoyed by Griffith's loud snoring. Page became so angry that he impulsively got up and prepared to get dressed and leave. The pair end up in a heated argument over Griffith's behavior and imcompetence. Page's anger subsides so he undresses again and goes back to bed. Come daylight,Griffith is dreaming that he's embracing his late wife. He gently kisses Page's ear and Page is holding Griffith's hand. So Neal and Del make their plans on how to get home safely and quickly. One point in the film shows an angry Neal upset with an agent at a rent-a-car company("YOU CAN GET ME A F---ING DATSUN,A F---ING TOYOTA,A F---ING BUICK,A F---ING MUSTANG! FOUR F---ING WHEELS AND A SEAT!") What happens next? Del shows up in a car he's renting. Incompetent Del finishes smoking a cigarette that when he was about to toss the still-burning butt out the window,it accidentally ended up in the back seat of the car. The car becomes ablaze and even worse,Neal's wallet was in the glove compartment with his credit card back in it. All the glove compartment contents burned in the fire. Now Neal is really furious with Del. Neither had $42.50 to check in for the night at a nearby motel so Neal comes up with $17 cash and a wrist watch. The on-duty manager accepts Neal's alternate payment. When Del comes up with $2 cash and a nicer-looking watch,the manager refuses and "says goodnight". Del is freezing to death outside in his charred rent-a-car until Neal invites him to share his room. Come Thanksgiving Day,despite all the aggravation and struggling,Neal arrives home in Chicago safe and sound. Del is with him. Del confessed that he is homeless and lost his wife. That was why Del said in one scene,"I haven't been home in years." His business of selling shower curtain rings is what is keeping him financially stable and clean. The end theme is "Everytime You Go Away" written by Daryl Hall of the rock/pop duo Hall and Oates and was a minor hit for them and later a bigger hit for Paul Young. This film was directed by John Hughes who also directed SHE'S HAVING A BABY and would later direct CURLY SUE. Listen for an audio excerpt from SHE'S HAVING A BABY. It's an argument between Bacon and Elizabeth McGovern. I dedicate this film to the memory of John Candy who died in 1994 at age 43 of a heart attack.

TOPS!!
Call me silly, but I am 44 and have been watching movies most of my life. This is my #1 favorite movie of all time. It cant compare with the great movies throughout history, but they are not my #1 favorite....this one is. How is that for a review?

That's it?
Just the film? No give-me's? No side dishes? Movie a la carte? No interviews, outtakes... nothing?

Fortunately the movie itself is a decent comedy. PLANES, TRAINS AND AUTOMOBILES is a fine film in a long tradition of road films, where the final destination is seemingly impossible to reach (like CLOCKWISE, AROUND THE WORLD IN 80 DAYS, e.g.) Steve Martin and John Candy make a surprisingly good team, and John Hughes lets them cut loose, fortunately. Unfortunately, the ending lurches into the treacly, sentimentality that Hughes just can't seem to avoid. Scratch that last comment, the ending I suppose is okay for this comedy. Give this film a view.

Great John Candy & Steve Martin Movie, but no extras
Let me start by saying that this is one of my favorite comedies of all time. I've loved this movie for years and I can watch it over and over again. I personally don't see how anyone could not like this movie, but you can't please everybody.
During the movie, Steve Martin is trying to get home to Chicago for Thanksgiving, but his plane lands in Kansas where he's stuck with Del Griffith (John Candy). They do everything they can to get home, but something always goes wrong. And you will laugh through almost the entire movie.
You've probably noticed that I gave this DVD 4 stars, and not 5. My reason for this: There are no special features. It seems like Paramound is just lazy when they put out DVD's. Almost every DVD I have that has no special features are by Paramount. There had to be interviews with Steve Martin and John Candy when the movie was made, or do some new interviews with Steve Martin and John Hughes. I would like to correct one reviewer about them cutting scenes from the DVD. I assume you are talking about the funny scene on the plane when they are being served their food. This is a scene that was not included in the movie at all, it's just added sometimes to the TV version. But I still think that scene should have been included on the DVD. Not as a deleted scene that you could view by itself, but actually included in the movie. ... Read more

Reviews (87)

A lovely movie
I have watched The Object of My Affection numerous times (they're always running it on the ABC Family Channel), and I have yet to tire of it. It is sweet, touching, funny, and well performed.

Jennifer Aniston is perfectly cast as the lead character, Nina Borowski, and gives an excellent performance that making the viewer feel what she's feeling. Paul Rudd, as her roommate and eventual love interest, is very appealing too. (In my opinion, he doesn't really seem gay, but then again he doesn't really need to. As long as the viewer just accepts the fact that he IS, it works.) John Pankow is great as Nina's irritating boyfriend, Vince. And of course, Nigel Hawthorne does a wonderful job as Rodney. Big surprise.

The best scene in the film is a scene where Nina's overbearing sister, Constance (Allison Janney), descends on Nina and George along with her equally annoying husband (Alan Alda) and daughter (Lauren Pratt). It is so funny, and so well acted.

All in all, The Object Of My Affection rates five stars in my book. Granted, there are some clunky bits in the script (as mentioned in the editorial review), and some bits that require suspension of belief. But those things are easy to ignore, and more than likely, you'll want to watch this film over and over again.

About time The Object Of My Affection comes to DVD
The Object Of My Affection is a great Flick. I am so excited it's finally on DVD. This movie takes place in New York City with our former Twin Tower buildings as the beautiful backdrop. The movie is about a women named Nina (Jennifer Aniston) who falls in love with her roommate George (Paul Rudd), but there is one problem ... he is gay. George decides to move out and move in with Nina after his boyfriend Joley tells him he is seeing another guy. Nina who has a boyfriend finds herself falling in love with George and soon she finds out she is pregnant but decides she wants to raise the child with George instead. George finally starts to fall for Nina, but after a weekend trip with his x-boyfriend Joley, George soon finds himself falling for a guy named Paul, and soon there is a decision that forces George to decide between Nina and Paul. I know it sound like a too much drama, but this is a movie worth watching, I will not say anymore other than this is a Great movie that will make you laugh and bring tears to your eyes as well. Im glad to see The Object Of My Affection has made it to DVD. Buy it it is a great flick that breaks down the walls of sexuality as you can not choose who you can fall in love with, true love just happens. (...)

A must see
This is one of the best movies I have seen in a long time. I watched this one over and over again and I can't get enough of it. Jennifer Aniston and Paul Rudd are just adorable, the ( gay themed) story is magnificient,there is a great balance between comedy and tragedy, everything in this movie is worth the five stars.

Presents Some Moments of Affection
This movie starts as an hip romantic comedy, turns into a serious drama, becomes melodramatic and soap opera-ish, gets into comedy territory again for a while and finally delivers a contrived and slightly unrealistic Hollywood ending.

"The Object of My Affection" has as many twists and turns as a rollercoaster ride, switching and redefining the status quo a thousand times. Some moments are genuine and heartfeld, others have a sitcom humorous feel and at times it gets overboard with high levels of sugar and sappyness. The story is about the relationship between two young adults, a gay teacher (Paul Rudd) and a modern NY girl (Jennifer Aniston). Beginning as a tight friendship, their connection then appears to turn into something more deep, and from this point on the plot delivers a lot of subplots and new characters.

The acting is overall good and the movie tries to touch some serious issues, but unfortunately the story is so contrived that the result is just uneven and not very impressive. The pacing isn`t the best as well, delivering a lot of slow and dull moments