Reviews (196)

A underrated masterpiece of fantasy!
Jim Henson's 1982 Fantasy epic is set in another world and time, a elf-like being called " Jen" has a task that he must take. His task is to return an important Crystal shard back to a important universal source called " The Dark Crystal" before 3 suns line up, he joins up with a female Gelfling and must save the universe from the evil Skeckis before it's too late.

A magical movie that is one of the greatest fantasy epics of all time and also one of the best animated movies ever made, why is it animated you say? cause it's performed by Puppets that why. The DVD is impressive with excellent transfer and widescreen the way it was meant to be seen, the extras are phenomenal such as trailers, documentary, deleted scenes and more that adds to the value of the DVD. It's a must see movie if your into adventure, fantasy, sci-fi and animation, it's also a must see movie for your whole family and a guaranteed good time.

Movie Fairy Tale Told Right.
Jim Henson was one of the greatest artists and filmmakers of the 20th century. It took awhile for his genius to be appreciated in the United States, but over a decade since his death people are finally beginning to recognize the mastery of his creative mind. For example, THE DARK CRYSTAL. The film had a fairly decent run when it was originally released in theatres in 1982. However, the film wasn't acknowledged or heralded for the creative and complex masterpiece that it is until recently.

THE DARK CRYSTAL was a humongous undertaking. It is a film that takes place in a fantasy world, filled with frightening and mystical creatures; yet does not star one human being. The entire cast of the film consisted of nothing but puppets: some rather large and cumbersome, some that human performers were fitted in, some that were small, some that were animatronic; but all puppets nonetheless. Nothing like it had ever been attempted before and through the work on THE DARK CRYSTAL, Henson pushed puppetry and animatronics to a whole new level.

THE DARK CRYSTAL is about a young male Gelfling (think of an elf, but much smaller) named Jen and the journey he undertakes to save his world from an eternal dominion by a group of dragon-like creatures called Skesis. Jen's entire race was wiped out in a holocaust by the Skesis in an attempt to prevent a 1000 year old prophecy from being fulfilled. Jen is the last of his race, or so he believes. Jen leaves the race of Mystics who have raised the child since his parents' murder and sets forth on a journey to the great Palace to heal the Dark Crystal by inserting The Shard that had been broken from the crystal a millenium ago. Along the way he meets a variety of fantastical creatures from a one-eyed wise woman, the a race of miniture-round-headed people called Podlings, to a female Gelfling named Kira.

The plot of the movie is excellent and is told in the manner of such classic works as THE LORD OF THE RINGS, STAR WARS, and THE ODYSSEY. The world that Henson created is one of magic and fantasy, yet the story contains a great deal of Truth within it. It is a tale of adventure, love, sacrifice, and redemption; which speaks to the divinity in us all.

The movie is acceptible for an entire family to watch and contains several morals. However, children younger than five may find some of the creatures frightening. Nevertheless, THE DARK CRYSTAL is a fairy tale and like all true fairy tales, it does not gloss over the fact that evil is an ugly and nasty business. This movie is one of the best by one of the greatest.

Beautiful, but something missing...
Perhaps *beautiful* is the wrong word, for this movie is rarely aesthetically beautiful. Don't get me wrong on this point, beauty is not necessarily a good thing. What I mean to say is, atmospherically this is a triumph... but not beautiful. The 'characters' blend in perfectly(... beautifully?) to their world. The landscapes are... well... dark (which is fitting). It's aesthetically perfect, and in a movie like this, perfection demands there be little beauty.

The creatures are organic. 'Nuff said. They're wonderful. They're believable. They're just plain... wow.

So what's missing?

Terry Gilliam is quoted as saying a children's movie should be "Exciting enough for adults, and intelligent enough for kids" (Re: Time Bandits). The Dark Crystal is an imaginative masterpiece, but I couldn't help but feel the simplistic plot, 2-dimensional characters (I appreciate that making puppets' mental workings visible must be one of the hardest tasks in a movie with a fully puppet cast) patronizes the intelligence of all but the youngest children. They're a lot brighter than we treat them, and they're getting brighter by the day ;)

But, I suppose a great movie can do without great characters as long as the focus isn't on the characters, as long as it compensates atmospherically. And "The Dark Crystal" more than compensates.

So what's missing?

I'll relate this to another adventure movie: Dune. Dune was atmospherically beautiful, but it took itself too seriously. It was a massive undertaking, granted, but I can't remember laughing... or even smiling once. 137 minutes without smiling is a long time.

And it's the same with "The Dark Crystal". The only slightly comic break from the plot is the antics of a round-furry-dog-thing, but this isn't enough. "The Dark Crystal" Takes its battle-between-good-and-evil far too seriously, and unless one's awe at the world Jim Henson created can last one the full 90 minutes or so of the movie, one becomes impatient. Humour is an important tool with infinite potential - especially in a movie aimed at children, but it's a tool almost entirely overlooked in "The Dark Crystal". Even in a story as serious as Macbeth takes a moment to let its audience step back and chuckle towards the beginning. "The Dark Crystal" doesn't give us this opportunity.

In conclusion, "The Dark Crystal" is a... beautiful movie, but one that takes itself far too seriously. I became impatient with the simplistic plot, 2-dimensional characters (as 'beautiful' as they may be), and almost total lack of humour, but... clearly from the other reviews I've read, other's did not.

RE: the DVD
It's a lovely little package, but for the price you pay for it, it better be. I'm particularly fond of the little note-pad included. I would have liked to see more documentaries on the DVD, perhaps audio commentary, but alas - it shall not be.

Glorious!
I admit to being scared out of my wits by the Skeksis and the Garthim when I was little (reptiles combined with vultures and spiders combined with crabs are still terrifying to me), but I've come to really cherish this Tolkien-esque/ Froudian film. The gentle, nurturing Mystics, and cute little dog/ dust ball Fizzgig are among my favorite characters. The Podlings are simply adorable... the Gelflings are finely- featured and beautiful(Jen is very ponderous, if somewhat passive... Kira shows just how women can be, and are, just as strong as men!)... the Landstriders (which gracefully manage to combine the aspects of cats, moths, giraffes, camels, bats, rabbits, and who knows what else, into such beautiful creatures) are swift, courageous animals, and are very dear to me (for some odd reason). Possibly because I love animals(and I just have a thing for the underdog/unsung hero.) And there's the gentle Nebrie and many other creatures.

It's incredible to me that they were able to do this whole film without human actors! I seriously thought when I first saw it that they were real, flesh-and-blood creatures! Jim, Frank, Brian, and the rest of the crew really put their time and effort into making this film! Their hard work really paid off; the facial expressions and movements are impeccable! And the scenery is unbelievably lush, beautiful, and realistic. All of it looks so natural and earthy. It is as if they actually had real-live creatures acting, in my eyes... and they fact that they took the time to make up all of the history beind this story! That's just amazing!... and I could not get enough of "The Making of The Dark Crystal". How they all managed to sculpt, design, and perform these characters is mind-blowing for me, since I'm far from an artist like this crew. No matter...

This film, while impressive, is not for all people; there is a sizable mortality rate in this film that (the little ones) are likely to find very disturbing, including several struggles (Screaming Podlings being snatched up to be converted into slaves, Nebries being served to the Skeksis for dinner, and two Landstriders squealing as they fall to their deaths in a cliffside battle with the Garthim... I can't bear to watch (or hear) animals being harmed, and especially animals as gentle and benevolent as they are. Was showing these things really necessary?)

Apart from little things here and there, it is truely quite an accomplishment, if not earth-shattering, to watch!

22 Year Old Masterpiece of puppetry, still
When you think of Jim Henson you would sooner think of brightly colored animals with funny voices like dogs, bears, frogs and gonzos or fraggles. The Dark Crystal is something completely different however. It is scary, scary as hell.

It is a story of two races, Scepsis and Mystics who became seperated when the crystal cracked. To regain the balance in the universe the crystal must be whole again. In a prophecy it is said that a Gelfling will do this, allmost all of them are killed, except for one Gelfling called Jen...

Even though this movie is made 1982 it does not look dated at all. The puppets and body suits are amazing and really form their own world, much like Lord of the Rings. I'm surprised not more movies or stories in this fantasy world have been made.

This movie should not be watched by children under at least 12. The Scepsis are scary, vulture like creatures aided by an army of big bugs. Even the Gelflings look a little scary.

It's a masterpiece of puppetry, so definitely watch it. ... Read more

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In some ways, HBO's Six Feet Under plays kid brother to stellar BMOC The Sopranos: it's spunkier, less refined, chancier, and a bit of a punk. Nevertheless, the show set in the Southern California mortuary Fisher and Sons deserves its place in the pantheon of great television series. Ruth (Frances Conroy) is the stern matriarch who has trouble expressing emotion and snaps at the slightest problem. Daughter Claire (Lauren Ambrose) is an underachiever who cultivates a moody, mysterious loner image in high school (she's indulging in illegal substances too). Brother David (Michael C. Hall) works in the family business, and is uptight beyond belief (he's indulging in a secret homosexual relationship too). Elder brother Nate (Peter Krause) is the black sheep, who, eschewing responsibility, fled to Seattle but got lured back. And Dad (Richard Jenkins) watches it all bemusedly. Did we mention Dad's dead? Oh, and that the Fisher family business is a funeral home? It might sound off-putting, but coming from the mind of Alan Ball, the man who strip-mined suburban life to find the mordant wit underneath in American Beauty, Six Feet Under is a trenchant, stylish spin on standard family dysfunction.

This HBO series initially aspired to fits of Twin Peaks-like whimsy, with each episode starting with a death more outlandish than the previous, but soon settled into a comfortable groove that harkened back to the most familiar of TV family dramas (in fact, it's almost a mirror image of '70s drama Family, down to the three sibling archetypes). Of course, its HBO roots allowed it ample leeway with sex, drug usage, profanity, and violence. While the writing strove to be a little too clever, the overall look and tone of the show remained solid and sometimes profound (sometimes absurd too, but usually with good reason). Krause and Hall, as initially warring brothers who come to a wary understanding, are solid anchors, but it's the women in the cast who do the most phenomenal work. Conroy infuses her almost stereotypical mom with an obstinate but ultimately accepting heart, and Ambrose's Claire is by far the show's most appealing character. And stealing scenes left and right is Rachel Griffith's Brenda, a mystery woman with an outlandish backstory who meets Nate on a plane, has sex with him at the airport, and infiltrates his life. Like Brenda herself, Six Feet Under is fascinating--and highly addictive.

Slowly, the major force in season 2 is the unassuming lead, Peter Krause. Part of the long line of good-looking actors who never get respect because they make it look too easy, Krause (Sports Night) finds the perfect blend of optimism with a wonderful, bittersweet anguish as Nate, the prodigal son.The initial season's happy ending is forgotten as relationships change, the business is still under fire from the evil conglomerate Kroehner, and a lively dream sequence is just around the corner. The eccentricities of the characters are shaped, and not always suddenly. Take daughter Claire (Lauren Ambrose), who sheds her bad boyfriend only to find more complex relationships on her road to discovering her own groove. One person in the mix is Ruth's beatnik sister (Patricia Clarkson, in an Emmy-winning role), a joyous embodiment of thriving--if aging--counter culture. Another new character is Nate's old girlfriend, the granola-loving Lisa (Lili Taylor). For fans who groove with the wild, serio-comedic world of the Fishers (and let's face it, many didn't), the second season goes down like a fine meal of fusion cuisine. The show shares an unfortunate family trait with its HBO big brother: although both were lavished with multiple Emmy nominations the first two seasons, both took home only token awards. But then there's always next year. ... Read more

Reviews (77)

It's About Time
You'd be hard pressed to find a story more compelling than the one that inspired Arthur Miller's 1953 drama The Crucible. Except the one about how it became a movie. It's taken all these years to bring a full version to the screen, and the only thing that explains it is Hollywood's perpetual cluelessness. The Salem witch trials of 1692 destroyed nineteen lives and countless reputations. Hoodwinked by a bunch of flighty teenage girls who wished to escape a whipping for their frolics in the woods, the town brought in the colony magistrates to sort out the devils from the angels.

Miller, who also wrote the screenplay, expresses his blatant contempt for hypocrisy in all forms through the character of John Proctor (Daniel Day-Lewis), a humble but once-adulterous farmer. Proctor's sexual escapades with the town's main accuser Abigail Williams (Winona Ryder) could, through the girl's treachery, end in his wife's hanging. He can either save himself with a lie or free Elizabeth (Joan Allen) with the truth about himself and Abigail.

It's potent stuff any way you slice it, and the actors here aren't afraid to take big bites of their meaty roles. The film's pacing is fast and furious, hysterical like the history of the event it interprets. If it lacks the McCarthyist subtext it once had, so what. This here's a tragedy--a good old American one.

The movie's inevitable ending won't satisfy those who want only fluff and feathers at the cinema, but the hard lesson won by those who refuse to compromise their principles can't be denied. The Crucible is a faithful testament to their sacrifice.

Great Adaptation of an American Masterpiece
Since Miller helped write the screenplay and one of his sons produced or coproduced the movie, it shouldn't be a shock that the movie is so faithful to the original text where it needs to be and broadens the story where it needs to, as well. Miller knows how to write for the stage, and he apparently knows how to write for the screen, also. After seeing so many "classic" books and/or plays butchered by Hollywood, this movie is a real delight, despite its morbid and all-too-realistic story. This movie has become an essential to my Grade 11 American Literature classes, spectacularly complementing their reading of Miller's play and several pieces from the Salem Witch Trial era.

Ignoring the play's historic flaws and inaccuracies (that's another debate for another time), Miller brilliantly captured the essence of the Salem Witch Trials in his play and has conveyed them to the screen. Hatred, fear, jealousy, hypocrisy, religious mania, attention-seeking, conviction, strength, determination, repentance, and a host of other emotions and character traits are vividly brought to life by a superb cast: Daniel Day-Lewis is a great John Proctor (nobody else could have done better), Winona Ryder is very good as the conniving and bitter Abigail Williams, Joan Allen was nominated for an Oscar for her portrayal of Elizabeth Proctor, and Paul Scofield should have won an Oscar for his cold-hearted portrayal of Justice Danforth. The conflict between Proctor and Danforth is what sustains the play's momentum for the second and third acts (about the last hour and fifteen minutes of the movie), and Lewis and Scofield bring that epic conflict to life: the classic good v. evil, with the sides getting somewhat mixed up as to who is who. . . . Lewis plays the flawed hero to Scofield's self-righteous and vindictive villain with palpable energy. How Scofield's performance was overlooked by the Academy is just another example of their oblivion. He gives me the willies with his methodical, calculating delivery of Miller's chilling dialogue: "Who weeps for these weeps for corruption" (among a bunch of great lines from the play/movie).

This isn't simply a play enacted in front of movie cameras (like Death of a Salesman). The director uses his camera very effectively, capturing some great close-up moments, unique perspectives and camera angles, and bringing a sense of "bigness" to the whole story. The play can seem very isolated, with its sparse sets and black-and-white costumes. Miller also expands the movie to begin well before the play does (giving the movie-goer information that he must have assumed the play-reader would already have) and extending it beyond the conviction of Proctor to include his execution, along with that of Rebecca Nurse and Martha Corey. Just as a side note, each of those three was hanged in a separate group in the original trials--great symbolism from Miller, including each larger original group of victims in the final trio. Also great symbolism in Proctor's Christ-like physical placement in the middle of the two "sinners," as he takes their sins upon him--the crucifixion is represented very effectively.

Bottom line: You won't see a better adaptation of a play to movie anytime soon. Nothing essential is left out, and some nice details are brought in to give the movie a distinction from its original source, the play. If you can make it through this play and not be outraged by the injustice and hypocrisy, then you have a heart as cold as Danforth's. What Miller would likely want you to do is apply that outrage to similar situations that go on every day, just as he intended with his original play (the McCarthy hearings, the "Red" Scare). At least watch the movie, though.

"Your justice would freeze beer."
Although the playwright Arthur Miller was also the screenwriter for this production starring Winona Ryder and Daniel Day-Lewis, the film bears little resemblance to the play in tone and impact. Director Nicholas Hytner has abandoned the intimate, almost claustrophobic atmosphere of the dark, interior scenes in the play, in favor of an expansive setting, with many scenes set outside, including panoramic shots of Salem in 1692, full of costumed "citizens." The expanded setting makes the psychology and motivation of the witchcraft hysteria more difficult to determine, since the intensity of the settlers' repressed, interior lives is not obvious. The explanatory notes which Miller incorporates into the play about land disputes, religious controversies, and personal animosities, which led to specific individuals being accused and arrested for witchcraft, are seen only peripherally.

As a result, we see Winona Ryder, as Abigail Williams, and her coterie of bewitched girls, screaming hysterically and accusing innocent women of witchcraft without the background which would make these accusations plausible. Her previous relationship with John Proctor (Daniel Day-Lewis), in the absence of other motivations, seems to be the primary reason for her behavior, but this thwarted love does not explain the extent of her rage and, especially, the involvement of the other girls. Day-Lewis is reduced to the role of victim, and one of the hallmarks of his acting, his subtlety, is absent here, except in a wonderful final scene with his wife, played by Joan Allen. Details of the scenery also ring false--houses in this period were very small because of the difficulty of heating, one third the size they are here, and the church/meeting houses were modest in accordance with religious restrictions against unnecessary display.

This is a Hollywood version of the witchcraft trials, capitalizing on the sensational at the expense of the complex and subtle forces behind the accusations of witchcraft--the Indian wars which were just ending, the growing independence of individuals, the increasing resentment of hard-line theocratic rule, the abolition of traditional property laws, and most importantly, the lack of any societal role whatsoever for young women, who were not old enough to assume a woman's role and who, bored and left out of decision-making, were on their own in dealing with their adult feelings. The film is beautiful, and the acting, though one-dimensional, is as effective as it can be in the absence of fully-developed motivation for the girls' hysteria. The "witches" are reduced to cartoons here, and Miller's parallels between these trials and the McCarthy hearings of the 1950s, which give the play a modern context, are missing. Mary Whipple

A Superbly Directed and Acted Film
It is rare nowadays that I come out of a movie feeling moved and enlightened. Suffice it to say that when I first saw The Crucible in the theatre several years ago, I left the movie understanding a bit more about human nature and a greater appreciation for the power of group hysteria. This film draws on the fine acting talents of Daniel Day-Lewis, Winona Ryder (in her best role ever), and Joan Allen. Not only is the dialogue brilliant, but the emotional content is incredibly affecting. I am so glad to see it finally on DVD. In this day and age of disposable art, it is heartening to see that movies of this caliber are still being made (even if it is with less frequency).

A great film
I have seen this movie perhaps a dozen times, and never tire of it. It is one of the most compelling, well-written movies I can think of, and the acting is superb throughout, particularly from Day-Lewis, who gives a heart-stopping performance. Because of its theme about witches, the movie gets played a lot around Halloween, but it is by no means a horror movie. It's not even a thriller, really, yet it does manage to thrill and keep the viewer totally involved. I love this movie and can't wait for the DVD. ... Read more

Amazon.com

Sean Connery retired from the 007 franchise after You Only Live Twice (replaced by George Lazenby in the underrated and underperforming On Her Majesty's Secret Service) but was lured back for one last official appearance as James Bond in Diamonds Are Forever. He's in fine form--cool but ruthless--in a sharp precredits sequence hunting the unkillable Blofeld (a suavely menacing Charles Gray in this incarnation), but the MacGuffin of a story (involving diamond smuggling, a superlaser on a satellite, and Blofeld's latest plot to rule the world ) is full of the groaning tongue-in-cheek gags that Roger Moore would make his signature. Goldfinger director Guy Hamilton keeps the film zipping along gamely from one entertaining set piece to another, including a terrific car chase in a parking lot, a battle with a pair of bikini-clad killer gymnasts named Bambi and Thumper, and a deadly game with a bizarre pair of fey, sardonic killers who dispatch their victims with elaborate invention. Jill St. John is the brassy but not too bright American smuggler Tiffany Case, and country singer and pork sausage king Jimmy Dean costars as a reclusive billionaire with not-so-subtle parallels to Howard Hughes. Shirley Bassey belts out the memorable theme song, one of the series' best. Connery retired again after this one but he returned once more, for Never Say Never Again 15 years later for a rival production company. --Sean Axmaker ... Read more

Reviews (111)

A Bit More Cheek Than Usual, Miss Case?
DIAMONDS ARE FOREVER marks Sean Connery's return to the role of Bond after the hiatus of ON HER MAJESTY'S SECRET SERVICE. It was also his last Bond film to date (except for the swan song NEVER SAY NEVER AGAIN in 1983).

The opening precredits sequence involves Bond's hunt for Blofeld, who killed Bond's wife Tracy in OHMSS. The story then develops into a melange of diamond smuggling, Las Vegas casinos, an eccentric billionaire (pork sausage king Jimmy Dean playing Willard Whyte, a sort of cornpone version of Howard Hughes), cheesy funeral parlors, moon buggies and laser beams, cloning, and a girl named Tiffany Case.

In terms of story, this film is one of the weakest of the Bond films,jumping frenetically from one scene to another in an attempt to cram in everything it possibly can. The film editing is awful. There's just no other word for it.

The movie is redeemed by the characters and the nonstop action sequences, all of which are wildly entertaining. Connery is suave and irrepressible in a white tuxedo. Jill St. John, who plays the aforementioned Miss Case, is brassy and sassy, sexy and fun. The two of them seem to be sharing a private joke all the way through the film.

We are also introduced to Mr. Wint and Mr. Kidd, a pair of openly gay assassins who kill with a creative streak and have a penchant for really bad puns. The appearance of Wint and Kidd and their relationship marks a kind of minor milestone in the Bond canon, showing that the series was moving unselfconsciously into the 1970s.

Minor but important roles are filled out by Bambi and Thumper, a pair of gymnasts specializing in assault, battery, and tumbling routines, and Plenty O'Toole ("Named after your father, no doubt") a casino girl reminiscent of a low-rent Sylvia Trench from the earliest Bond films.

Blofeld is played by Charles Gray. Gray's Blofeld seems more like a disgruntled waiter than a criminal mastermind. His cat does give us an excellent performance.

DIAMONDS ARE FOREVER never takes itself seriously. This is not the film noir of FROM RUSSIA WITH LOVE. The series was taking its turn here toward the Roger Moore era of cartoon excess and "groaners", a downward spiral which continued until Timothy Dalton rescued Bond from utter obsolescence.

DIAMONDS ARE FOREVER is Eon's version of an Andy Sidaris film. Sidaris' films are low-budget Bond take-offs, but in this instance, it would be hard to say who inspired whom. Like Baby Back Ribs, this film is sloppy but delicious.

The Special Edition DVD has much to recommend it, including deleted scenes (which to Eon Productions' credit, help make sense of the film) and interviews with some of the cast. There is also an excellent retrospective on the life of Cubby Broccoli. -

Sparkling
"Diamonds Are Forever" is the 7th in the James Bond 007 series from 1971. Agent 007 is assigned to stop diamond smugglers. This movie marks the return of Sean Connery to the role of Bond. He does a decent job here, but afterward he retired again and Roger Moore took over the role. Jill St. John does a good job of playing Tiffany Case, one of the smugglers. Norman Burton does a forgettable job of playing Felix Leiter. (The best Leiter was Jack Lord in "Dr. No" [1962]).

This movie really has two things going for it: an outstanding soundtrack and some of the best villains of the entire Bond series. Shirley Bassey sings the title track. Her's is a return performance, as she also sang the title tracks to "Goldfinger" (1964) and "Moonraker" (1979). The two villains, Mr. Kidd and Mr. Wint, are henchmen of Ernst Blofeld. It is just hilarious how they make deadpan one-liners which parody those of Bond!

This is one of my favorite Bond movies, but I am rating it down one star because it seems to bog down near the end. Ironically, I saw a DeBeers diamond commercial which said "A diamond is forever" while I was preparing this review. Apparently, the movie title has some marketing power to it!

Not as bad as Moonraker
Connery is the only saving grace to this film. The film has a rushed, cheap quality to it. The producers must have been so pleased to have Connery back one last time they forgot about minor stuff like exotic sets (Las Vegas coming on the heels of Japan and the Swiss Alps is a let-down), decent special effects, and a good editor--how did Plenty end up dead? what about the car on two wheels switching sides?--see the movie and you'll understand. Also, someone should have at least tried to get Telly Savalas back as Blofeld for some continuity. Blofeld is 007's Moriarty and while even Savalas didn't quite match the literary Blofeld, he at least had far more presence than Donald Pleasance or Charles Gray. Having Connery back one more time was good, but production values really took a hit in this one. Still, it wasn't as silly as Moonraker.

He deserved the dough
One of my favorite Bond movies. Connery earn his unusual ( for the time ) fee for this role as he hunts for the killer of his wife only to find him behind a mission after he believed he finished the job.

Jill St. John is very hot and does a fine job and the supporting cast follows through well. The cut in the effects budget shows with the parking lot chase but I always felt that Connery as Bond was the attraction rather than the gimicks.

A winner

Making Mud Pies, 007?
The 7th James Bond movie. DIAMONDS ARE FOREVER introduced a fascinating character in the series with Willard Whyte, a reclusive billionaire who runs an empire from a Las Vegas penthouse. Whyte is played to perfection by none other than the sausage king himself Jimmy Dean - a legendary tycoon himself during the late 50s and 60s for a series of hilarious commercial and comedy skits. Dean cleverly enthuses the role of Whyte with his own persona. As such, the whole extravagant gambling activities seen throughout the film give a unique appeal for Sean Connery's final apperance as James Bond. The film also showcases memorable action sequences with a more spunky heroine in Jill St. John.

THE ASSIGNMENT: M introduces Bond to the problems of diamond smuggling. Despite apparent air-tight security at South Africa's diamonds mines, a large quantity has recently gone missing. Even more alarming than the larceny is that none of the stolen jewels have found their way on to the world market. Bond is sent off to discover who is stockpiling the diamonds, and why. He begins by impersonating smuggler Peter Franks, and ends up in Las Vegas - and to his shock face to face with Ernst Stavro Blofeld! Blofeld has devised another way to hold the world at ransom - a giant laserbeam generator suspended in orbit around the Earth which uses diamonds to intensify its' energy to the point where it can cause rockets, missiles, and submarines to simply self-detonate. Blofeld is effectively conducting an international auction with nuclear supremacy going to the highest bidder. Who better than 007?

THE VILLAINS: Charles Gray as Ernst Stavro Blofeld, Joseph Furst as Professor Metz, and Putter Smith and Bruce Glover as the whimsical homosexuals Mr. Kidd and Mr. Wint.

HIGHLY RECOMMENDED! BUY IT! ... Read more

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Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence.Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer's evil spirit has survived and is possessing the bodies of others to do its evil bidding.Even Hobbes's trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes's far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story's film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it's an intriguing hybrid that resides in the same cinematic neighborhood as Seven and The Silence of the Lambs with a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. --Jeff Shannon ... Read more

Reviews (76)

superior to seven
Fallen has the "Seven" type feeling. The film is mixed with drama, suspense, mystery, and horror. Not to mention this film has almost absolutely no gore. It has a reliable and clever plot. Fallen is about a detective named John Hobbes, who is played by Denzel Washington. He has caught a killer named Edgar Reese who is about to be executed. Reese tells Hobbes a riddle before he dies. When another murder occurs, Hobbes finds the same riddle scrawled on the wall. He unravels the clue and begins to discover that the true being responsible for the murders is a demon called Azazel, who can move from body to body by simple touch. This film features many chilling scenes that involve Hobbes trying to keep up with who Azazel has just possessed. The supernatural twist in this movie makes it more interesting than seven, and the unique characters, especially Azazel, make this film one of the best suspense movies of all time.

Don't mess with a demon.
If you are with the opinion that The Bone Collector, also starring Denzel Washington, sucked because the "clues" left by the killer on purpose to make fun of the cops was way too exaggerated and it had a very lame ending, this is what you need to watch because this one is dealing with that both cases near perfect. Everything is just fine in this movie; cast, plot, direction, music, ect. The story will keep you nailed to your seat from the very beginning to the ending credits. And Rolling Stones will keep you watching the ending credits. The atmosphere is dark and mysterious, although it would be better if the writer didn't feel it necessery to reveal in the very beginning that the killer is in fact a body shifthing evil soul. Music is excellent, you can't help but get drawn into the movie with that music playing in the background. And it was so nice to see Elias Koteas in his role, someone i really admire for his Han Solo part in Teenage Mutant Ninja Turtles. But that's not the only suprise in the movie, it has its exceptional ending. I strongly disagree with the idea that ending was anywhere near predictable. I hate to give away clues about a film's ending, but my title already does. Only thing i was sad about the movie, i would love to see John Goodman playing basketball. About the DVD, it has not much but some cool features. Like, it has the best feature for me, both full screen and wide screen formats. And then we have a running commentary, trailer, cast & crew and similar stuff. The picture transfer of the film deserves credit and apperiance is ok, too. So this film is a buy. The only reason that this cool film got 4 stars from me is because, i've seen Se7en.

Ho hum
Denzel Washington is John Hobbes, a homicide cop who is called to investigate a killing that looks very like the work of recently executed Edgar Reese and is disturbed to find that whoever did it seems to attach real significance to the odd riddle Reese teased him with shortly before dying. The riddle's solution leads him to the case of another cop's mysterious death in a remote mountain cabin thirty years previously and to that cop's surviving daughter, now an academic expert on angels. And deciphering the words of Aramaic Reece spoke to Hobbes in the same pre-execution conversation thickens the plot still further...

It's natural to bracket this film with Rupert Wainwright's 1999 "Stigmata" as a pair of ambitious, quite expensively cast, mainstream Hollywood attempts from the late 90's to breathe a little new life into the old "Exorcist" theme of possession neither of which quite comes off. This one is pleasant enough to watch, taking the form of what at first seems a fairly conventional police procedural thriller until the supernatural elements start to crowd in. The first half is the best with its intriguing sense of mystery. Things get weaker when the mystery dispels and Hobbes is left in no doubt about the strange game of demonic tag he has stumbled upon. The problem here is that what Hobbes find out is intended to be truly disturbing and scary and, well, it isn't all that much. SO an OK mystery movie that turns into a rather ineffective horror movie that is well enough put together to sustain interest but won't linger in the memory.

Denzel does it again
This is such a gripping movie. You never know when or in whom the killer will appear next. What a thriller. Another wonderful performance by Denzel. Bouncing back and forth from the viewpoint of the killer to the mind of the detective, you will not want to miss a beat of this hold-your-breath-and-grit-your-teeth movie. Enjoy!

Not Good
A good friend of mine told me this movie was really good and talked me into watching it with him. Let's just say we're no longer good friends. This movie is cheesy, cliche, and doesn't make sense, and the ending makes the whole movie pointless. It is one that Denzel should leave off his resume. ... Read more

Description

The DVD contains the 184-minute version of the film. ... Read more

Reviews (123)

You'll enjoy Mr. Barlow. And he'll enjoy you...
Directed by Tobe Hooper (who would go on to helm "Poltergeist"), "Salem's Lot" is a better-than-adequate condensing of Stephen King's classic horror novel. It's made all the more effective when you consider this is material originally shown on network television.

David Soul ("Starsky and Hutch") plays Ben Mears, a writer who returns to his hometown to write a novel about the local haunted house, and ends up dating Susan Norton (Bonnie Bedelia, future star of "Heart Like a Wheel"). Then evil James Mason comes to town, and pretty soon 70s character actors like Fred Willard, Geoffery Lewis and Elisha Cook, Jr. are dropping dead due to... mysterious circumstances. Okay, enough phony suspense. It's a vampire movie. Vampires... in modern-day Maine. And it works better than it has a right to.

Soul's not exactly tortured enough, and Lance Kerwin's a little too old to play a monster-obsessed youth, but the supporting cast, which includes Ed Flanders ("St. Elsewhere"), Lew Ayres (Paul, from the classic 1930 "All Quiet on the Western Front"), Kenneth McMillan ("Ragtime," and "Dune") and George Dzundza (everything else) more than make up for it. They're sincere, and that counts for a lot. James Mason makes a perfectly urbane villain; he's suave and dangerous, and much smarter than his undead master, who's something of a disappointment in the chills department when finally revealed.

This disk contains the entire miniseries, which manages to maintain a level of suitable creepiness, despite some dated sexual innuendo and a some "made-for-tv" scenes that aren't quite as menacing as they could be. Still, a few sequences are effectively chilling, and it's well worth your time, especially around Halloween.

Mason shines in this one
"Salem's Lot" is one of the better Stephen King-based films, though it suffers from excessive length (three hours in the original TV version) and a lead performance by David Soul that brings new meaning to the word "limp." Soul virtually sleepwalks through his role of middle-class fiction writer who returns to his home town to investigate the "haunted house" of his childhood, and finds, instead of ghosts, a mysterious antique dealer and his Nosferatu-like colleague. The devious and clandestine exploits of the latter gradually lead to an outbreak of vampirism that threatens to bring the entire town within its clutches.

The film boasts a good seasoning of veteran actors in supporting roles, several of whom ---- Elijah Wood, Jr., Lew Ayres, and Marie Windsor ----- appeared in a number of film noir classics of the forties and fifties. (For a treat, see Windsor in the 1952 version of "The Narrow Margin"). But while it's fascinating to see these old pros in their various roles, it's James Mason who truly impresses.

Indeed, "impressive" may be too mild a word for Mason, who plays the recently-arrived antique dealer with such impeccable style that he single-handedly transforms "Salem's Lot" from an overextended B movie into something worth remembering. Observe his reactions, for example, when informally interrogated by the town constable as suspect in the killing of a small child. Or later, when he meets Soul during a gathering in his antique shop and the former broaches the question of "evil." Says Soul: "Do you believe a house can be evil in its very boards and windows? In its stone foundations? Evil?" "Oh, you're the writer," answers Mason with mocking insouciance --- the words are neutral, but his entire manner and inflection create a devastating put-down. Here is an embodiment of "cool" that would do justice to any jazz musician, but Mason does it quietly, slowly, with the limitless patience of a man who knows he can do anything.

The other outstanding element in "Salem's Lot" is Reggie Nalder as the vampire under Mason's control (though just how this control came about, and how it is sustained ---- is never explained). Some older fans of the Karloff-hosted "Thriller" series may recognize Nalder from that TV anthology, most notably in the episode, "Terror in Teakwood," where he played the sinister "Kaffke." Here, by contrast, his face is half-buried in makeup, but Nalder's cadaverous bone structure assists the illusion and makes his image of the vampire "Barlow" one of the most frightening since Max Shreck. He's not on-screen more than a few minutes, but, as Mason's character amusingly prophesizes in an early scene: "I'm sure you'll enjoy Mr. Barlow. And he'll enjoy you. Oh yes. Oh yes."

"Salem's Lot" is not a great horror movie, since, along with the problems mentioned, it's burdened by lack of originality. Some scenes are atmospheric, such as those where child vampires are shown floating and beckoning through moonlit windows ---- hackneyed, but effective. These are offset by many sequences that are silly or adventitious (e.g., the one where students are acting out a historical play, so poorly directed it recalls Ed Wood or Bert I. Gordon). The film could have been better with a good lead actor, as well as more conviction from the supporting cast generally. Otherwise, it's more than worth watching for the tour-de-force performance of James Mason and the sheer scare-value of Nalder.

RC in Dallas
I was 9 when Salem's Lot first aired. It has always been the prototype of a scary movie to me. For years I could give myself the willies thinking about those glowing eyes, that kid at the window, and Mr. Barnes. Buying the VHS about 10 years ago was a bit of a disappointment. The editing is terrible and leaves many holes. Was it that bad on TV, or was it shortened for the VHS? The effects are a bit hoakie and look really old in these days of CGI. I also understand that a new DVD is less butchered.

But let's give this fun movie the credit it deserves. For network TV, this had to be pretty racy material. Who else but Steven King would kill all those kids? And what's creepier than that kid scratching on the window? Plus, it's fun to see how much things have changed in 25 years. Its a hoot to look back at all the funny clothes, cars and phones.

If you watch the TNT remake, you see that the new version is a little closer to the novel and goes deeper into detail. But the original is still the best and gives more goose-bumps for the buck. Enjoy it on a night you want to feel a little creeped-out and revel in it's 70's TV charm.

Awesome Considering it Was Made For TV In the 70's
First off, this DVD is your best bet with the full version. Back in the day, I bought the condensed version on video which butchers a good 70 minutes of footage.

I had the liberty of seeing the TNT remake of this the other night and was rather disappointed. Although it was slightly more faithful to King's novel, I found a lot of it laughable and the effects were idiotic. This is much better. The story centers a writer returning to his hometown just as a vampire and his servant take up residence and begin preying on the townspeople. The vampire Barlow is very Nosferatu-ish in thsi when actually in the book, he was basicly an average man that happened to be a vampire, but oh well. The vampire make-up and everythingis actually pretty scary and convincing *which is more than I can say for the recent remake.* Overall, highly recommended. It's not what you would call scary, but it's good for a creepy night-time viewing. And don't miss out on the book!

Salem's Lot
Salem's Lot was kind of a dissapointment.I love vampire movies and stuff like that , but this T.V. mini-series just wasn't that impressive.I had heard many good things about it too but I don't agree with any of them.Okay this movie isn't all bad; the storyline and screenplay is written fairly well and it does offer some chilling scenes that may make shivers run down your spine.On the other hand this movie is filled with bad acting and ridiculous dialogue.I haven't read the book but I don't think Stephen King was real impressed either.If you are able to sit through 3 hours of this and think it is good then you are a true vampire addict.This movie is overall borderline rotten/fresh.Only check this one out if you are A TRUE VAMPIRE ADDICT.

Salem's Lot deals with unresolved pain and fatal curiosity. Now a successful writer, Ben Mears (David Soul) returns to his childhood town of Salem's Lot in Maine. Mears wants to rent a house for six months to investigate the strange and disturbing happenings at a creepy house in the town. Mears himself carries the haunting childhood memories of this Marsten House - a "monument to evil" - a house where young kidnapped. boys where taken.Mears believes that evil places attract evil men, and a mysterious and smug Mr Straker (played with delicious enthusiasm by James Mason), has recently purchased the house for an elusive antiques dealer, Mr Barlow. With the help of his former English school teacher, his new girlfriend Susan (Bonnie Bedelia) and her father, the local doctor, Mears sets about investigating the house and the bizarre events that unfold. ... Read more

Amazon.com

Any short list of the all-time greatest Westerns is bound to include this 1948 Howard Hawks classic about an epic cattle drive. Red River features one of John Wayne's greatest performances. Like his Ethan Edwards in John Ford's 1956 masterpiece The Searchers, the Duke plays an isolated and unsympathetic man who is possessed by bitterness. Wayne is Texas rancher Tom Dunson, who adopts a young boy orphaned in an Indian massacre.That boy, Matthew Garth (played as an adult by Montgomery Clift in his screen debut), becomes Dunson's assistant and heir apparent--until Dunson's temper gets out of control during a long cattle drive and Matt intervenes to stop him.From that moment on, Dunson swears he will kill Matt.Red River has everything a great Western ought to have: a sweeping sense of history, spectacular landscapes, stampedes, gunfights, Indian attacks, and, of course, Walter Brennan as Dunson's crusty old cook and comic sidekick, Nadine Groot.As a special bonus, the film also features the legendary Harry Carey (upon whom Wayne would base some of his gestures in The Searchers) and his son Harry Carey Jr., who became a fixture in Ford and Hawks Westerns.Red River is essential for anyone who loves Westerns, or movies in general.This one's a real beaut.--Jim Emerson ... Read more

Reviews (41)

THE cattle-drive movie
Having weighed-in on _The Culpepper Cattle Company_, I have to genuflect at the altar of THE cattle-drive movie-- _Red River_.

This film pre-dates _The Searchers_ by about eight years. The lead character, Tom Dunson, is a sort of prototype for Ethan Edwards. This is John Wayne without sentiment or schmaltz, until the final scene which differs from the story on which the film is based, and which jars a bit.

That being said, _Red River_ still stands as the definitive cattle-drive movie. Wayne/Dunson builds an empire but then must head the herd north on a drive that simply _has_ to get through-- despite conflicts with nature, rustlers, Indians, and between Dunson and his men, including his adopted son, Matthew Garth.

Wayne is cast against his own stereotype as Dunson and comes across as a hard and unlikeable character. Walter Brennan as his sidekick, Groot, nearly steals the show just as he did (again) in Hawk's _Rio Bravo_. Montgomery Clift does a passable job as Matthew Garth, but is outclassed by John Ireland as Cherry Valance, the gunfighter turned cowhand.

The rest of the cast is outstanding. You need only look at the cast list to appreciate the fine ensemble company that Howard Hawks put together for this movie. This is also on of Dimitri Tiomkin's finest musical scores.

Finally, I agree with Maltin on this point: beware edited and abridged copies of this film. Anything less than a 133 minute running time should not be bothered with.

"Take `em to Missouri, Matt!"

A Flawed Western
For an hour and 20 minutes or so, Red River is a great western (even with such embarrassing moments such as Wayne killing the Indian and discovering the bracelet he had given his girl, the stuttering cowboy who is killed in the stampede, etc.). It boasts a stunning Dimitri Tiomkin score, terrific B&W photography by Russell Harlan, a wonderful performance from Montgomery Clift, a powerful (if typically one-note) performance from John Wayne ... and then Joanne Dru enters the story and it basically falls apart from this point on. She is so completely incompetent that she manages to almost sink the film! Her dialogue is, admittedly, terrible (Hawks bragged that he wrote most of it!), but her line readings are so terrible that it just makes the awkward dialogue even more awkward. The ending is absurd, a complete build-up to a deadly collision and it ends up a rather weak fist-fight. Perhaps, had Wayne's performance included emotional shadings, the ending might have worked, but since he is so one-note hard and uncompromising throughout, not for one moment do I believe the final sequence. In the original Borden Chase novel, the character dies at the end. It should have happened here, also (same major flaw in Wayne's The Searchers, too). On top of which, the John Ireland character is built up as a major challenge to Montgomery Clift, but this is simply dropped halfway through. Indeed, the Ireland character is allowed to fizzle out. The auteur theory is what keeps critics from analysing this film from a more objective viewpoint. But it is very watchable and its strengths certainly outnumber its weaknesses.

Black and white sensation!
John Wayne's Red River is one of the most exciting and classical westerns of our century. So, if somebody hates black and white, screw them, it's their problem. Don't even review the product, genius! Alongside The Searchers, this is one of the Duke's landmark films. Also, John Wayne was our ultimate hero, prevailing in every gunfight and every story. His acting AND his strength certainly prevail here. Also filled with action packed gunfights and suspenseful scenes. The ending is fine.
The DVD transfer is nothing special, and somewhat grainy at times. MGM DVDS are not known to be the best DVD makers on the market. To shape up this classic western, expect a Criterion Collection re release and enjoy!

An American Treasure
In the rich history of American film, this piece of work by Howard Hawks makes the short list. It has been used as a template for any filmmaker wishing to make a Western, and further, it is one of those rare pieces of culture by which a society defines itself. If you needed to demonstrate to a foreigner what the American character is all about, you could show them this movie.

As a Western, it certainly has it all: cowboys killing Indians, men leaving women for the call of the trail, gunfights, stampedes, love, betrayal, and finally redemption. It is also gorgeously filmed, beautifully written, and well acted throughout. And finally, it stars John Wayne, an actor that towers over today's crop of male actors like an oak over weeping willows.

This film also stars Montgomery Clift as the surrogate son that eventually challenges Wayne for control of the drive. In terms of acting styles, Clift and Wayne were about as different as two actors could be: Wayne seemed always to act on instinct and charisma, while Clift was one of the young Turks through the 40's and 50's, a proponent of a new style of acting - the method developed by Lee Strasburg (one can easily imagine Wayne giving his crooked sarcastic grin over the very idea of a "school" where young people learn acting). Yet, casting these two together works. By all reports, the two hated each other at the beginning of the production, but had developed an actor's respect for one another by the end of filming. Wayne, after watching Clift in one of his scenes, was quoted as saying something like "damn, that little queer sure can act."

John Wayne, for his part, goes toe-to-toe with the new school of internal acting and more than holds his own. His portrayal of a powerful, unbending man who slowly descends into bitterness and hate is a real treat to watch. His performance was, to use a phrase Wayne would have hated, multi-layered and very, very skillful.

Other performances to watch: the ever-faithful Walter Brennan, one of the greatest character actors of all time, is perfect as Wayne's partner/friend. It is in watching Brennan's reaction to Wayne's increasing dementia that we see how far off track he's gone. John Ireland also is a standout as Cherry Valance, the pistoleer, who is full of casual grace and menace. As if all the above wasn't enough, the great Harry Carey is onboard briefly as Mr. Melville, radiating authority.

Every film lover should own this film and watch it at least once annually.

Every American should treasure it as a source of national pride.

One note: this is one film that simply demands a better DVD treatment. The picture and sound isn't bad, but it isn't widescreen, and there are absolutely no special features. C'mon, Criterion Collections, where are you? --Mykal

Mutiny on the plains
Howard Hawks' 1948 RED RIVER is an ambitious, sprawling, epic western. It's on a number of top-100 lists, and it belongs there.
The movie tells the story of cattle rancher Tom Dunson and the first drive along the fabled Chisholm Trail. It's based on Borden Chase's "The Chisholm Trail"
The movie hits the ground running. Within the first five minutes there's a romantic leave taking, an indian attack and a burning wagon train. The romantic parting of Dunson (John Wayne) and his intended is a key incident in the development of this bitter and hard-driven character. Dunson and Groot Nadine (Walter Brennan), who left the wagon train with Dunson, are joined by a survivor of the massacre, Matt Garth - who, fourteen years later, will become the quick-drawing Montgomery Clift. The shocked boy is leading a cow, Dunson and Groot have a surviving bull, and with this bovine first couple they make for the open land south of the Red River.
Fast forward 14 years and Dunson has 10,000 head of cattle and a depressed, post-Civil War southern economy that can't afford to buy them. They must drive them to Missouri and sell them to the more prosperous northerners or face ruin. During that drive Dunson descends to near insanity and Matt ascends as a moderating influence and, apparently, becomes the only one who can successfully lead the men and cattle to market. Without giving too much away, something happens on the drive that will drastically change Dunson's and Matt's relationship and jeopardize both of their lives.
It's pretty heavy stuff, and John Wayne is rock solid great as the troubled Dunson. This is one of the greatest roles in the career of a sometimes under-rated actor. Montgomery Clift is fine in his screen debut.
Walter Brennan's Groot is a marvel. That guy was such a good actor. Like all good sidekicks, and Brennan was the best, Groot is part court jester and part moral barometer. It helps that he plays most of the movie without his upper teeth in, too. Brennan was always better when his mouth was half empty.
There are some images that will stick with you for a while. Thousands of cattle crossing the Red River, a midnight stampede with a couple of hair-raising rescues. And there's a neat little bit with an angry John Wayne striding down a long street crowded with cattle - Wayne doesn't break stride, of course, and the cattle move out of his way like a longhorn Red Sea parting for an angry Moses.
For the most part the script is well written, and there's enough amusing scenes (usually including Brennan) to keep the whole thing from collapsing under it's own weight.
For instance, when Dunson and Matt are deciding who's to go along on the drive, Dunson excludes Groot (bum leg.) Groot mutters to himself like a live-action Popeye while Dunson and Matt continue their conversation. A distracted and exasperated Dunson finally says:
Dunson: What are you saying? I can't understand you. Where's your store teeth Matt bought you?
Groot: They're in my pocket.
Dunson: Well, why don't you use them?
Groot: 'Cause they whistle. I use them for eating.

Then there's the Joanne Dru character, Tess Millay. It doesn't help that her first appearance occurs in the third scene. One hour and forty-one minutes into the 2:20 movie, by my clock. My guess is the scriptwriters didn't want to clutter up the action with a romantic subplot until absolutely necessary. Fair enough, but it means that Millay's and Matt's romance has to be telescoped severely. Basically they meet, fall in love, and part in a day. It stretches an audience some. Worse, Dru as an actress simply wasn't right for the part.
One of her character traits, as written, is to talk and keep on talking when something worries or frightens her. She does this to negligible effect. It's a role that seemed to have been custom written for Jean Arthur, who always could blabber on to good effect, who could always drop her voice down to a husky purr or have it emit an abrupt squeak for maximum dramatic effect. Unfortunately Arthur was nearly fifty when this movie was made, so I guess casting her as a romantic lead opposite the young Clift would have, uh, added an strange and unwelcome dimension to the movie. Dru, in one of her earliest roles, just doesn't have the chops to carry off the role convincingly. All things considered, I think this piece of miscasting is more Hawks' fault that anyone elses. Anyway, I shaved a point off because of it.
I don't normally notice bad transfers, but there are a few dark night scenes in RED RIVER that look like someone lit a Fourth of July sparkler. And, less forgivable, my new factory-sealed-from-a-reputable-national-outlet retailer did NOT contain the advertised four page booklet. Finally, I've played the movie twice so far, and each time the start up menu screen doesn't appear until AFTER the movie is over. ... Read more

Reviews (29)

"...You've attacked an innocent dwarf!"

Director: Colin Higgins
Format: Color
Studio: Paramount Studio
Video Release Date: June 2, 1998

Cast:

Goldie Hawn ... Gloria Mundy
Chevy Chase ... Tony Carlson
Burgess Meredith ... Mr. Hennessey
Rachel Roberts ... Delia Darrow/Gerda Casswell
Eugene Roche ... Archbishop Thorncrest/Archbishop's brother
Dudley Moore ... Stanley Tibbets
Marilyn Sokol ... Stella
Brian Dennehy ... Fergie
Marc Lawrence ... Rupert Stiltskin
Chuck McCann ... Theatre manager
Billy Barty ... J.J. MacKuen
Don Calfa ... Scarface
Bruce Solomon ... Bob Scott
Cooper Huckabee ... Sandy
Pat Ast ... Mrs. Venus
Frances Bay ... Mrs. Russel
Lou Cutell ... House manager
William Frankfather ... Whitey Jackson
John Hancock ... Capt. Coleman
Barbara Sammeth ... Sally
Queenie Smith ... Elsie
Hope Summers ... Ethel
Irene Tedrow ... Mrs. Monk
Ion Teodorescu ... The Turk
Janet Wood ... Sylvia
David Cole ... Theatre Usher
Bill Gamble ... Dickinson
Cyril Magnin ... Pope Pius XIII
Michael David Lee ... Limo driver
Neno Russo ... Luigi
Rollin Moriyama ... Japanese man
Mitsu Yashima ... Japanese woman
M. James Arnett ... Truck driver
Jophery C. Brown ... Cop
John Hatfield ... Security guard
Joe Bellan ... Man in phone booth
Chuck Walsh ... Newscaster
Connie Sawyer ... Screaming lady
F. Jo Mohrbach ... Fat lady
Garry Goodrow ... Henpecked husband
Enrico Di Giuseppe ... Nanki-Pooh, the Son of the Mikado of Japan
Glenys Fowles ... Yum-Yum, a schoolgirl, betrothed to Ko-Ko
Kathleen Hegierski ... Peep-Bo, a Schoolgirl
Sandra Walker ... Pitti-Sing, a Schoolgirl
James Tomlinson ... Pish-Tush, a Noble Lord
Richard McKee ... Pooh-Bah, Lord High Everythingelse
Jane Shaulis ... Katisha, an Elderly Lady of the Mikado's Court
Shirley Python ... Esme

A newly divorced Gloria Mundy (Goldy Hawn) picks up a hitchkiker, Bob Scott (Bruse Solomon) on California's Highway One north of San Francisco. He is being followed. He makes a date with Gloria for the theater that evening, and gives her a pack of Marlboros into which he puts a roll of film without her knowledge to hold for her. He shows up at the theater, collapses in the seat beside her and dies, after telling her to "beware the dwarf" and that there would be a murder. When she goes for help, the body disappears.

Enter Detective Tony Carlson (Chevy Chase), whom she had met previously at a party. The bad guys try to kill her a couple of times, and to get the pack of smokes, unsuccessfully.

This is an excellent story with a great cast. Pity the dwarf Bible salesman, poor unlucky Stanley Tibbets (Dudley Moore) and the owners of all of the cars wrecked in the chase across town.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

San Francisco at its Best!
Once you see the lead in to the movie with Barry Manilow singing "Ready To Take a Chance Again" and sweet and pretty Goldie Hawn driving south on Highway 1 to downtown...you are hooked.
The view of the coast with the Pacific Ocean and the Golden Gate Bridge is so beautiful it can make you cry. Believe me, it is even more beautiful when you are there. Everything is here in one movie - action, comedy, satire, thrills, car chases, etc. Chevy Chase is young, dashing and handsome while a good supporting actress is Goldie's sidekick at the Library where they work. She advises Goldie to give it to them "right in the nuts" with a knuckle duster. Beware, her handbag has more weapons than cosmetics. Burgess Meredith is superb as a compact ex-US Marine turned anthropologist. He is old but a helluvaa tough guy and.. he's a Karate expert to boot. Dudley Moore is hilarious with his beaver trap apartment complete with piped in Bee Gees music. You'll never hear "Staying Alive" again without remembering this scene and Dudley's hilarious gyrations. Watch this movie and you'll be happy you did. I loved it.

Finally This Will be On DVD
I love this movie. Finally a dvd release date : Nov. 16, 2004. Thank you GOD

always a great film to see
I have always loved this movie. Its great from start to finish. I hear the DVD release date for this movie will be November 16, 2004. Too bad its even that far down the road, and not sooner. Oh well.

This Movie Needs To be Put on DVD!
Foul Play is a hilarious movie and I can't believe it hasn't been given the DVD treatment yet! Seems Like Old Times which Goldie Hawn and Chevy Chase made after Foul Play is on DVD and that is also a funny movie but Foul Play is funnier and really should be on DVD. I would love to have either a Letterbox widescreen DVD or an anamorphic widescreen DVD! ... Read more

Reviews (46)

Larenz Tate Proves His Star Quality Once More
I don't know what it is about this guy but Larenz Tate can mesmerize a screen. Lackluster films like " Love Jones " and " Love Come Down " would have surely fizzled out if it hadn't been for his strong screen presence. This is one actor who deserves an Oscar ( but realistically will probably never get one ). If you're a Larenz Tate fan I am sure you've already seen " Dead " a thousand times. You won't get tired of it because Larenz brings his natural freshness to the film each time.

The movie begins in the late 60's where Anthony ( Tate ) and his friends, Skip ( Chris Tucker ) and Jose are riding to school on their bus. We quickly realize there is a war going on and this gives Anthony his golden opinion, which controls the direction of the film: Anthony wants to fight for his country. Anthony seems to be the perfect citizen by his innocent face and polite quality but has done some wrong things in the past like help the ongoing pool hall hustler cash in on illegal gambling money. After Anthony declares his love for Juanita ( the delightful Rose Jackson )he's off to fight. Anthony and the audience is thrust into some realistic yet vicious war segments. Let me warn you that this film is one of the most violent I've seen in a long time. It is not for those who can't stand blood. After learning he's become a father Anthony finally returns from the war. This is where the story gets emotional. As if it wasn't bad enough Anthony was fighting for his country, he comes home to a " country " that still sees blacks as less than human. He finds a dinky job cutting meat and loses it. If that wasn't a kick in the head he finds his woman has been seeing the local mobster/pimp Cutty. Meanwhile he and Juanita are struggling to keep their relationship together with a young daughter. After a violent confrontation with Juanita, Anthony storms off and finds Juanita's sister ( the lovely N'Bushe Wright ) who guides him to the " latest " war...the ongoing revolution for the militant black brothers and sisters to reclaim what's righfully theirs. Anthony's got other plans. A plan that stems from his pals. They decide to heist a money truck and half of them ( including N'Bushe ) end up murdered to death. This scene was graphic and incredibly violent. When Anthony thinks he's gotten away with something, he ends up meeting his destiny.

Larenz Tate was wonderful in this film. I have the feeling if this had been for the " Saving Private Ryan " audience he would have won recognition, but only the black community seems to appreciate Tate and films like " Dead Presidents ". The supporting characters were believable with the exception of Chris Tucker ( who I love ) but he needs to learn how to act less like himself in his roles and more like the character. He acts the same way on everything. He seems to be hired for his real-life persona instead of his acting ability. But Chris is always entertaining. Rose Jackson was who I especially enjoyed. She was lively and strong just like Anthony's lady would have been. The direction was slow at parts but realistic. The violence was a bit much but hey...that's life. This is a truly good film and it was screwed of mainstream attention like so many other good black films. It seems to me that if you're not Eddie Murphy, Halle Berry, Samuel L. Jackson or Denzel Washington, you stay in the " black " forest of the cinema industry and that's unfortunate. Because our commmunity has turned out some of the most versatile actors in the world.

Larenz Tate Kills It ! Great Film!
Dead Presidents is a well plotted drama that grabs your attention from beginning to end. Larenz Tate's killer performance definitely makes this film worth while. Honestly, i've haven't seen much Larenz Tate movies but watching this makes you more interested in his other works. I won't give you a whole plot summary of the film but "Dead Presidents" is very gory especially in the war scenes. It's basically about a young man trying to find himself fresh out of high school. HE decides to fight in Vietnam but comes back havin to care for his baby girl which causes him and his buddies to try to make some quick cold cash, robbing a federal reserve bank. Chris Tucker even brings some humor to this outstanding drama. Keep an eye out for this movie and other works by Larenz Tate. In my opinion he could be the next big thing. You'll believe me when you see it.

Great Cast....
The movies is very good, You follow a young man growing up durining Vet Nam. He enlist the Marines Corps which shows him and his high school buddie, Skippy( Chris Tucker). I like what the preacher son gets as a good luck charm.
Tates character then returns back to his home town after 3 tours in Nam to find things have change alot. My heart goes out to him , but this is were the movie even gets better. Like I said the cast adds alot to the movie, when you watch the movie you will see what I am talking about..

Good Movie
This Flim Was A 10 out of 10 in my book. great actors and screenplay.

~*~ The BaG~*~

Good Film
This film was really good. By the end of the movie, I did not condone what was done, but I understood. How many of us know people who came back after fighting for their country, and they are working jobs that suck, and living a tough life. That's pretty much the message I got from the film. I watch this movie about once a month, I like it that much. Chris Tucker had a role in this film that makes you stand up and take notice. I would love to see him in more dramas in the future. He could do the roles. ... Read more

Description

Rita Lee Lance and Chris Lorenzo solve high-profile crimes of passion for the Palm Beach Police Department.They'll stop at nothing in their pursuit of those who, due to their power or fame, feel that they are above the law of the land. ... Read more

Reviews (55)

Not made for the small screen
Like IMAX films released on dvd...what's the point? This was made for the biggest movie screens ever conceived.

I was lucky to see this film a few years ago in genuine 3-strip CINERAMA on an archival print from the original release. On the big screen it's an amazing experience. The uneven story fades away when one is viewing the spectacular cinematography. CINERAMA captured vast scenes in incredible richness and detail. It's an experience like no other.

On the small screen at home you mainly notice the technical flaws, the borders between the three separate images, and also the dated 1960's Hollywood "Old West" story. (Carroll Baker's makeup is never smudged, even when tilling the soil.) The first two segments are the best dramatically.

One aspect that is still great at home is the magnificent score by Alfred Newman. So save your money, buy the soundtrack, and head to Seattle, LA, or England or where ever you can find an exhibition of the real CINERAMA.

America's own "Triumph of the Will" -- Leni would be proud!
In a remarkable coincidence, the same day I saw "How the West was Won" at the Seattle Cinerama (03/01/03), the History Channel aired a program on the history of the wheel. One of the talking-head experts opined that the wheel's invention marked a fundamental change in human thought -- not only was there a technological solution to every problem, but nature could be bent to human will, forced to reveal her secrets and serve us.

This is the theme of "How the West was Won." It starts with the title, and extends to nearly everything in the film. The narration tells us that the land had to be wrested from nature and from the "primitive people" who inhabited (and by implication, infested) it. The chorus is continually singing about how "we're headed for the promised land" and those who are willing to work hard will be richly rewarded (except the Chinese railroad laborers, of course). We were justified in overrunning the continent because we are actually "doing something" with it -- as opposed to the Indians, who merely lived there in harmony with nature. Not having invented the wheel, they saw no further possibilities.

James Webb's script acknowledge the culture clash between the Americans and the native peoples, recognizing that the latter will have to eventually change or be destroyed. But this is peripheral to the celebration of the industry, hard work, and sacrifice of the Americans, who "tamed" the wilderness. The film ends with a nausea-inducing flyover of the California freeways (I sat next to a guy who'd taken Dramamine in anticipation of such scenes), followed by a flight under the Golden Gate bridge, firmly and unambiguously driving the point home.

"How the West was Won" is social propaganda, plain and simple. It's the kind of film that could change Osama Bin Laden's mind about destroying the US. (Maybe the State Department could arrange a screening...)

As a movie, there's no denying "How the West was Won" is wildly entertaining. Simply as cinematic spectacle, it works magnificently. There are films (such as "2001" and "Lawrence of Arabia") that even the finest video transfer cannot do justice to, and this is one of them. Sitting in the first few rows, you're so close to the screen that you can't take in all of it at once. When the camera tracks into a scene, the sense of physical motion is uncanny. (Can you say "stimulation of peripheral vision"? Sure you can.) And if you haven't seen a buffalo stampede, or a train crash, or a row of cannons firing in sequence on a (roughly) 30' by 90' screen -- well, you haven't lived, cinematically-wise.

Story-wise, there's so much material to cover the script cannot begin to do it justice, even in a film lasting 2½ hours. Characters are more types than individuals, and almost every performer is cast to type. (Eli Wallach, in particular, gets to do his "crazy Mexican outlaw" shtick, though without an accent.) It's only the efficiency and focus of the script that keeps the actors from looking altogether foolish. Other than (perhaps) Karl Malden, no one gives what would be considered a "real" performance.

The plot (which follows the Prescott family and its descendents over 50 years) is concocted to make Debbie Reynolds' character the sort of farm girl who wants to run off to the big city to become rich, so we're treated to several (mercifully brief) song-and-dance numbers. Her sister is played by Carol Baker, who falls head over heels in love with Jimmy Stewart's "aw-shucks" mountain man, and later "tames" him (as the film's conceit requires). The rest of the film rehashes just about every cliché of westerns and Civil War movies -- though entertainingly. The final sequence posits the "conquest" of the West as occurring when "the law" (in the form of George Peppard's marshall) arrives, to establish justice. But Peppard -- who says he wants to bring the bad'un to justice in court -- shoots him to death, anyway.

My five-star rating acknowledges this is a classic film -- not necessarily a great one.

I can't pass up the opportunity to trash Pauline Kael, who was not so much a hard-nosed-but-movie-loving critic as she was an empty-headed, loudmouthed [female canine]. Note how she uses the artistic limitations of a single sentence to craft a thoughtful, insightful commentary that will help the reader better understand this film...

"'How the West Was Lost' would be a more appropriate title for this dud epic, since, as conceived by the writer, James R. Webb, the pioneers seem to be dimwitted bunglers who can't do anything right."

Hello? Were we watching the same movie? "How the West was Won" might be politically incorrect, dramatically shallow, and little more than agit-prop -- but it's no dud. The Seattle audience -- which included many people sporting "No Iraq War" buttons -- just ate it up. "How the West was Won" is Hollywood middlebrow-populist entertainment at its best.

One final question... Where did they find a stunt man who looked like Agnes Moorhead?

Wake me when it's over
I kind of figured television was responsible for this... movie. HOW THE WEST WAS WON dvd comes with a featurette on the making of the movie, in which we learn that the movie studios developed the Cinerama process (three cameras shot the movie which was projected onto three specially designed screens. Think IMAX) to present an alternative "viewing experience" to compete with television.
Watching this on television, even in a letterbox edition, is excruciating. There are visible bars where the three screens meet. Often the color in one screen doesn't jibe with that of the adjoining screen.
Those defects could be corrected by digital manipulation, I suppose, but what's the point? The Cinerama screen was meant to wrap around the audience and a television screen is flat. What can't be corrected is the lack of close-ups and a surplus of dead space.
Almost all the action takes place in the center panel, and the closest we get to the action is in a medium shot. Most of the time there's nothing happening on the edge panels. Two-thirds of the screen is dead. The only time Cinerama seemed to shine was when chaotic action was swiftly coming at the audience, which is why we are so often treated to onrushing trains and galloping horses and stampeding buffalo shot from a camera in the ground. I think it would have taken a visual genius the likes of a Busby Berkeley to exploit Cinerama's potential without having to open the paddock.
The featurette also tells us HTWWW had a cast of 12,000. I guess maybe a dozen of them weren't miscast, but that's just a guess. The movie opens with Jimmy Stewart, out of character as mountain man Linus Rawlings, canoeing along a river while Spencer Tracy narrates over the action: '(The land) known only to the lonely trappers wandering its vastness in search of beaver...' One and a half scenes later Linus skids his bark next to the Prescott campsite and gives Carroll Baker a pelt to stroke....
Okay. I was bored. What can I say? At least I was paying attention. When Debbie Reynolds delivers a rousing rendition of 'Raise a Ruckus' for the despondent members of the wagon train I wasn't paying much attention at all. By the time Eli Wallach was glaring daggers at George Peppard's kids I was wondering whether or not one should fill in that little hole in the middle of a dvd when you make it into a coaster.

Middling story and atrocious transfer
I like westerns. My favorite entries in the genre are spaghetti westerns, those cheap, ultra low budget Italian takes on the American West. I always try to fit some of these movies into my viewing schedule, and when the day came where I considered it time to watch Sergio Leone's epic "Once Upon a Time in the West," I headed out to rent it. Imagine my surprise when I got home and saw that I inadvertently checked out "How the West Was Won" instead. I scratched my head, not familiar at all with the title. After all, I like westerns but I don't know a lot about the genre or the films I have yet to see. When I saw the cast list for this 1962 movie, I decided not to take it back without watching and seeing if I liked it. I think I would be remiss to have skipped this one on initial impression alone; the cast list reads like a "who's who" of mid twentieth century Hollywood. You've got Carroll Baker, Lee J. Cobb, Agnes Moorehead, Jimmy Stewart, Henry Fonda, George Peppard, Debbie Reynolds, Eli Wallach, John Wayne, Richard Widmark, Walter Brennan, Karl Malden, Carolyn Jones, Harry Morgan, Raymond Massey, and Robert Preston filling the roles