Reviews (655)

A heart pumping rollercoaster ride of a movie.
The 3rd installment of the JP franchise is without a doubt that darkest, fastest-moving, heart-pounding, and exciting movie in the film series. Sure the 1st JP is a pure classic and The Lost World tries to recapture the awe of the orginal and The Lost World *tries* to do the same thing but doesn't pull it off very well. Jurassic Park 3 tells you right from the start with a claw ripping through the JP logo that this time the dinosaurs aren't playing around. Sam Neil returns and gives a excellent performance as usual. The supporting cast does well also with William H. Macy and Tea Lenio giving strong performances. The real winners here though are the dinosaurs. As soon as humans once again arrive and disrupt their natural habitat they are just fed up it seems and don't play any games. In the first two films the dinosaurs seem a bit hesitant to eat some good ol' human flesh but, not in this film though. The new bad boy Spinosaurus quickly claims himself as the king of the jungle by taking out one of the legendary actors of the series. (You will seat what I mean) The raptors return badder and smarter. The most immpresive new Dino by far in the flying Pterandons. The special effects are as usual .. amazing. This a perfect addition to any Jurassic Park fan's DVD library.

JPIII
This movie is just pure fun. Thats all it is! The series is going to be if not already classic. See these films! Theyre a blast!

Newer Dinos Means A Fresh Film
Being a lifelong Dinosaur fan, I had to check out JP///. The trailers were making the movie seem really big and fresh with bringing Spinosaurus in to replace Tyrannosaurus as the starring role as super-predator in the JP series. The film moves at a pretty fast rate which can be good and bad. The Dinosaurs in the film are more believable now that the CGI programmers had the ability to make the Dinos' skin wobble when they moved and to have other parts of their body be in sync with the rest of their body.
The characters really don't have much development in the film which is okay considering you came to see Dinosaurs. But there is just enough character development for the moviegoer to understand each character.
My only gripes are with the film that it just seemed like the Dino action seemed to go downhill as the movie progressed. It starts off very well with the Spinosaurus attacking the plane and then eventually battling Tyrannosaurus (which I was hoping wouldn't show up until the final minutes of the film, giving it a climatic ending). After that, the Dinos seemed kinda sparse and the action shorter and shorter. The raptors also kinda got old. Like with T-rex, the filmmakers should have replaced the raptors with other Dinos. Maybe Baryonyxs? Also some science is forgotten in this film. But they had Jack Horner as their Dino supervisor, so it was a given some wrenches would be thrown in the mix. Also, the film seemed really short. With some newer dinos added to the screen that have never been seen before, I was hoping that they would have some pretty nifty Dinosaur battle sequences and Dinosaur-human encounters.
All in all, while JP/// was, somewhat, of a letdown for me, it still provided the goods for the most part.

Redeeming Qualities
Yes, this movie does have some plot holes, and it is not as good as the first movie in the series, but this movie is definitely better than "The Lost World." Somewhat formulaic at this point, but still a decent movie with a simpler and more plausible plot line than the previous movie.

A couple's son is parasailing off the back of a boat off Isla Sorna when something unseen happens to the people driving the boat. The boy's parents, Paul Kirby (William H. Macy) and Amanda Kirby (Téa Leoni), enlist Dr. Ian Malcolm (Jeff Goldblum) to help get the boy back. However, they have to trick Dr. Malcolm into returning to the island, because he, rightfully, thinks being on that island is a very bad idea.

As it turns out, landing a plane on the island was a very bad idea, and now the erstwhile rescuers are running for their lives. Along the way they find Erik Kirby (Trevor Morgan), and the only remaining task is to escape from the island.

Several new dinosaurs are introduced in this movie, including really cool pteranodons and a spinosaurus. The pteranodons act like giant birds, and are appropriately scary. The spinosaurus shows that the tyrannosaurus was not the king of the world. The encounters with the dinosaurs recall the thrills of the first movie in this series and are interesting and enjoyable.

There are a few plot holes in this movie, but fewer than in the previous movie. By keeping the plot simple and having fewer characters with a simpler motivation the movie avoids the incongruities of the previous movie. This movie was more creative and intriguing and favored adrenaline over depth, as in the first movie. The shorter length of the movie also minimizes opportunities to overly analyze the plot, keeping the focus on the action. A sequel not quite as good as the original, but superior to its predecessor.

Better than the 2nd, not as good as the first
Good movie. It was an improvment over the 2nd. It has a lot more dinosaurs, which makes it entertaining. If you like the first two, i recommend you to see this one.

MPAA: PG-13
Running Time: 93 minutes
Year released: 2001 ... Read more

Reviews (15)

Bulls-eye!
The best noir ever made for the small silver screen, this classy series exudes as much pizzazz today as in its heyday! The dark streets glisten with rain and neon, the nightclubs steam with sultry jazz and smokey-voiced women, and stalwart men stalk the unlit alleyways, shadowy docks, and hitman hideouts of the urban jungle. The storyline of each half-hour-slotted epidode is tight and to the point, but time is still taken to explore the relationahip between Gunn and his glib, glamourous girlfriend Edie, his matron-with-moxie chum Mother, and the dogged, job-bound Lt. Jacoby. The series has a timeless ambience. It oozes with hot, on-the-surface sexuality without being brazenly explicit, and the violence is palpably throbbing without being gratuitous or gorey. As terrific television, it's right on target!

16 slices of late '50s "cool"
Unfortunately in the 23-24 minute length of each episode there isn't all that much time for plot or character development, so for better or worse, we get right down to the nitty gritty. But for a taste of 1950s "Cool", being the TRUE "cool", it doesn't get much tastier than this. Bet you can't watch just ONE! Peter Gunn (Craig Stevens) is a sharp P.I. in a sharp suit who hangs out in a jazz club called "Mothers". His singer/girlfriend, Edie (Lola Albright) has got to be one of the most gorgeous 50s babes outshining even "Hawaiian Eye" cutie Connie Stevens and "77 Sunset Strip" bombshell Jacqueline Beer. And not a word of sass, just cool... so refreshing! Gunn's way-out beatnik buddy, Wilbur, is a welcome addition in selected episodes. The rain-soaked streets at night, the menacing docks area, the 1950s cars, great character actors like Whit Bissell, Jack Weston, Gavin McLeod, Frankie Darro, etc. show up, also guest musicians Shelley Mann, Shorty Rogers and others in on-camera appearances PLUS that Mancini score!! Today's teens, with their laughably misguided concept of "cool," should look in, take note, and shut up! They couldn't be this smooth if they tried. Some episodes are better than others, but all of the shows have great moments. The picture quality varies a little as well, but overall, considering the vintage of this stuff, it's pretty good. I have no complaints and highly recommend both Vol.1 and Vol.2

peter gunn sucks
Peter Gunn sucks,and "mother" is a rotten singer.However,Lola Albright is lovely and the music score by Henry Mancini is wonderful.

The bar was set low, and I don't mean in Mother's
I recalled some details of this show, but no particulars. Bought it because I thought it might be a gem, like "Have Gun, Will Travel," which holds up spectacularly well.

But Gunn? The scripts are by folks with attention deficit disorder. The characters are above average in large part, but there's virtually no attempt to consider a vague plot.

There's a ridiculous trivia quiz in which you view scenes from the episodes a second time -- geez, they were ridiculous enough the first time -- and then you're given a memory quiz, such as, "Who offered Peter Gunn a chair?" in this scene. Who cares? Trivia should be questions such as, "Were producers looking for a TV version of Cary Grant when they cast Stevens and told him to talk with clipped, Grant diction?" At least we might have learned something.

And rights could be an issue, but if not, why not include some of this fine music on a few tracks?

Oh. Gunn gets beat up more than Mannix. In real life, he would have had Parkinson's Syndrome at 45 from all the brain battering. Maybe if he'd look behind himself once in a while.

The epitome of cool
If the world wants to know what cool is watch Peter Gunn.
I was very lucky to watch it on TV as a tot.
The music soundtrack is maximum cool,too.
Craig Stevens plays it smooth.
He is the hero you know in your gut will be there for you when no one else will.
TV shows are not made like this anymore. ... Read more

Reviews (27)

"A Bad Little Girl Named Melba Niles"
Poker is the setting and the power of corruption is the theme of The Cincinnati Kid.The two protagonists in the poker match are The Kid (Eric Stoner, played by Steve McQueen) and The Man Himself (Lancey Howard, played by Edward G. Robinson); youthful, exuberant, but inexperienced and innocent challenger vs. the accomplished, dedicated, wise yet dessicated champion.

The primary vector of corruption is Melba Niles (played by Ann-Margret) in a remarkable role.At the outset her husband (The Shooter, played by Karl Malden) complains that she cheats at everything as she puts together a jigsaw puzzle by trimming the wrong pieces with manicure scissors. Her influence despoils everything it touches:Shooter's "reputation is the one of the few stable things in a world of crumbling values" at the start of the movie; he's the only dealer everyone can trust.By the end of the movie his reputation is in tatters, giving "an occasional helpful card" to The Kid at the whim of Slade (Rip Torn) who threatens to expose Melba's past.The portrayal of Shooter's descent is well done; Melba laughs and mocks as he wrestles with his conscience ("I'll only help him if he really needs it.He might not need any help at all.").

In an early scene Christian (The Kid's girl, played by Tuesday Weld) and Melba go to the movies.As Christian describes the movie to the Kid, she is puzzled that people in the movie "valued their lives more than their honor".The Kid explains (as to a naive child): "Well, yeah.What good is honor if you are dead?"At some level the movie "The Cincinnati Kid" seems to ask the obverse question "What good is your life if you don't have your honor?"

Later, Melba asks the Kid (with Christian present) about the upcoming game with Lancey; Christian didn't know about this major event in the Kid's life and she goes home to her parents feeling hurt, thinking that she doesn't have The Kid's confidence, that he doesn't even tell her about it.The Kid ends up thinking that maybe she doesn't love him anymore.

During Christian's absence Melba tries to seduce the Kid, and at first the Kid can resist her, recognizing Melba's corrupting influence and not wanting to cuckold his friend The Shooter.But because of the confluence of circumstances (Shooter's dishonesty and Christian's indifference) he succumbs to her.As you might expect, the Kid pays a heavy price for this weakness.

Other attractions are the snappy dialog, and the final showdown between the Kid and the Man is a classic scene not to be missed.

this is one of my favorites!
every time this movie comes on TCM, i have to look at it. the stud poker scenes are intense. Steve McQueen and Edward G. are suberb. i just love it! and the title song sung by the Great Ray Charles is a treat. i just love it. Worth ordering and adding to my collection.

I miss about the few seconds on New Orleans Jass
Please, please please release a DVD. Sometimes this great
movie is still shown in German TV, but too seldom. And I'm
hungry for the few moments of New Orleans Jazz (perhaps Geo Lewis?). 4stars of because there is no DVD

The arrogance disciple against the experience master!
This is a cult film all the way and certainly one of my favorite issues of Norman Jewison. Few times before or since this picture have ever been such adrenaline confrontation and dramatic tension in any card game .
Edward G. Robinson is the old master and Mc Queen the young man , capable to conquer the world just in one gamble . In the middle of the great depression this movie has had too many similar works through the years, but this is the definitive to date .
The supreme Goddess of the middle sixties Ann Margret and the masterful hand of Jewison makes of it a fundamental CD for your personal collection.

Don't waste your gambling money on this stinker
There is a reason this film (and I use that term loosely) has not been released on DVD.. I am a huge Steve McQeen fan, but this is a terrible movie... Poor Ann-Margaret..no wonder she never really was taken seriously as an actress.. This movie reminded me more a musical, without the music.. (Think "Showboat").. cheesey lines, uneven editing, hey the list goes on and on.. I know, the current poker craze has everyone jumping on anything having to do with the game.. but save your money.. this movie stinks.. ... Read more

Reviews (172)

Yes, Urban Fairy-Tales Do Exist.
The first time I heard of CITY was after I saw ALIEN: Resurrection (another neo-classic stoner fantasy); I wanted to see more movies by this young French director (or wherever the Deuce he's from). The title impressed me immediately.

THE CITY OF LOST CHILDREN

How can you deny the appeal of such an interesting title? Even better, one of my favorite actors was in it: Ron Perlman, among the top five most versatile American actors. It was a year after hearing about the movie that I actually saw it; believe it or not: It was worth the wait.

Essentially, someone's stealing kids and when those someones steal the wrong kid, D'Henri, the "little brother" of circus strongman, Mr. One (Perlman), it sets into motion a series of events culminating into a beautiful street fairy-tale. It's got a group of child-thieves and a Siamese Twin ring-leader, a Mad Scientist and several clones, a disembodied brain and a midget wife, a group of blind zealots collectively known as the "Cyclops," hypnotizing fleas, and a little boy who can't stop eating. Who can resist all that?

Great color and surprisingly good special effects. It should come out on DVD, if it isn't already. (Hey, I'm talking to you, people who make DVDs. Whoever you are.)

The Greatest Film of all time!
The City of Lost Children is absuloutely the greatest film ever made. From Jean-Pierre Jeunet and Marc Caro comes a twisted fairy tale with a load of villains and heros. It bases in a strange, twisted, floating city. Where a carnival strongman takes a poor, homeless boy into his home. But the evil Cyclops that terrorize the city kidnap. That's when the adventure begins. He then goes searching for him and teams up with a small girl named Miette. Together, the strong man (One) and Miette. Go searching for the lost boy. They soon enter a strange underworld. Learning that a madman played perfectly by Daniel Emilfork, a Princess, and six bumbling, clumbsy clones are kidnapping childre because the madman(Krank) was created with the others by a perfessor and Krank can't dream. So now they kidnap children and steal their dreams. But all the children fear him and have nightmares. Krank soon buys One's child from the Cyclops and uses him in his master plan. Now Miette and One bind a relationship while two evil twins hunt them down, while meeting a strange scuba diver, a psychotic circusman, and the Cyclops layer. All of the adventure is jammed pack into one movie. It's my favorite, I can't take my eyes off of it. See this film! The Directors and great and also directed a similar film, Delicatessan.

jacque le blew- this blew!!!!!!!!
i take back my title , maybe this movie just wasn't for everyone. the dubbing was awful, and story just dragged on for too long. but all isn't lost........ the movie is visually stunning!! thats it take it or leave it!

The wierdest movie I've ever seen!
This was one of the most bizarre and well done movies I've ever seen. It took me about three times watching it to understand the plot completely, but it was well worth it. The children in the movie are fabulos, and the visuals are really amazing. If you have not already seen this movie, I would highly recommend it.

One of the best
So few movies these days really capture my mind. This is one of those movies from start to finish hands down one of the best. City of Lost Children is not for everyone but it's smart creative storytelling is all there. Dark humor and twisted effects set the tone for this film. if your a fan of a sweet films and dark humor than give this movie a try ... Read more

Amazon.com essential video

In every aspect, the extended-edition DVD of Peter Jackson's epic fantasy The Lord of the Rings: The Fellowship of the Ring blows away the theatrical-version DVD. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes--sometimes whole scenes, sometimes merely a few seconds--make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). Extremely useful are the chapter menus that indicate which scenes are new or extended.

Of the four commentary tracks, the ones with the greatest general appeal are the one by Jackson and cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members, but the more technically oriented commentaries by the creative and production staff are also worth hearing. The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Whether in this four-disc set or in the collector's gift set (which adds Argonath bookends and a DVD of National Geographic Beyond the Movie: The Lord of the Rings: The Fellowship of the Ring), the extended-edition DVD is the Fellowship DVD to rule them all. --David Horiuchi ... Read more

Reviews (3438)

An astonishing masterpiece.
Considered both as fantasy adventure and as an adaptation of a beloved literary classic, Peter Jackson's film of "The Lord of the Rings: The Fellowship of the Ring" sets new standards for cinematic excellence. Everything about this film feels exactly right, from the casting to the screenplay to the special effects. The last are amazing, putting to shame anything George Lucas has come up with, and yet they always serve to advance the story; unlike Lucas, there's never any hint that Jackson is merely playing with his toys. Jackson shows great respect for Tolkien's text, but not slavish devotion. Certain characters--such as the lovable Tom Bombadil and Frodo's poisonous Aunt Lobelia--are missing, and Tolkien would be chagrined to find that the little poems and songs he loved to write are nowhere quoted. But if Jackson gives short shrift to Tolkien's whimsy, he more than makes up for that by giving us Tolkien's intensity, pathos and moral vision absolutely undiluted. Above all, Jackson never forgets that Tolkien's chief emphasis was always on the characters he created. Jackson casts wonderful actors to play those characters and--again unlike Lucas--he actually allows them to give performances. How wonderful to find the great Sir Ian McKellen, a uniquely commanding and charismatic actor, as Gandalf, or the charming and touching Elijah Wood as Frodo. You can go straight down the list--Viggo Mortensen as Aragorn, Sean Astin as Sam, Ian Holm as Bilbo, Cate Blanchett as Galadriel--and find nothing but perfection. This is one of the very few big-budget blockbusters that unqualifiedly deserves its success, and all we can do now is look forward with excitement to the release of "The Two Towers" in 2002 and "The Return of the King" in 2003. Like the books they came from, these three fillms will be cherished by future generations.

The Wonders of Middle-Earth
The fate of Middle-earth lies in the hands of Elijah Wood in the grand fantasy epic "The Lord of the Rings: The Fellowship of the Ring". When the forces of evil storm the mystical realm of Middle-earth to reclaim the Ring of the Dark Lord, Sauron, the brave Frodo (Elijah Wood) and the wizard Gandalf (Ian McKellen) embark on a quest to destroy the One Ring that could doom the land. With the help of a fellowship of good friends and powerful allies, Frodo faces incredible dangers and the fierce minions of the Dark Lord. "The Fellowship of the Ring" is an astonishing epic tale of good versus evil. Director Peter Jackson delivers the wonders and emotional intensity of J.R.R. Tolkien's classic with such stunning amazement. The movie includes exceptional performances by Viggo Mortensen, Elijah Wood, Cate Blanchett and Ian McKellen as the wizard Gandalf. It also contains amazing special effects, beautiful backgrounds and a superb music score.

"The Lord of the Rings: the Fellowship of the Ring" is certainly one of the best DVDs of the year. The splendid fantasy adventure is presented in standard full screen format. The DVD has marvelously flawless picture quality and a great 5.1-EX Dolby Digital sound. If special features are a must then this DVD is a welcome addition to any collection. Its supplemental material includes numerous behind-the-scenes featurettes, trailers including a preview of the upcoming "The Two Towers", a music video, DVD-ROM extras and impressive interactive menus. Overall, "The Fellowship of the Ring" scores an "A".

Awe-struck
I'm still reeling from this film! The performances, costuming, props and special effects, direction, and cinematography are astounding. There were times whilst viewing this film when I was on the edge of my seat or grabbing my seat to hold on; times when my heart was pounding; times when I was moved to shed a tear by either sadness or greatness. The movie captures every part of human emotions, wraps them all up, and unleashes them at the viewer at an almost rapid pace; which can, at times, be a bit too much. The Fellowship Of The Ring is a very strong, very powerful, visually stunning, and entirely emotive film. And I give top marks to WETA for the highly notable achievement of creating a thoroughly credible height ratio effect for the Hobbits and Dwarves in regards to the taller races of Middle-earth. Brilliant!

However, as much as I was stunned by this film, the screenplay and adaptions were absolute rubbish! In my opinion, Mrs. Jackson and anyone who worked with her should be fed to the Balrog, along with Peter Jackson himself for allowing it. Their were changes in characters and character, aspirations, and events. Tolkien's dialogue was rarely followed. Some reviewers say this doesn't deter from the story. It does deter from the story! That's exactly what it does. How difficult is it to follow a story and dialogue that has already been written? Editing is one thing and is understandable when approaching a big screen adaptation with time constraints, but arrant changes to a story are not. This I find unforgivable. In addition, no Fatty Bolger playing up appearances in Frodo's new house in Buckland; no Willow The Wisp; no Tom Bombadil; no Barrow-wights; no Rhadaghast The Brown, and very little attention payed to the Hobbits' stealth from and cat and mouse games with the Black Riders in The Shire. In addition, very little of Tolkien's dialogue was covered. The Fellowship Of The Ring is mainly dialogue, and takes place mainly in The Shire. What happened to Peter Jackson's boasting about how closely he was going to follow Tolkien's story? With all its faults, Ralph Bakshi's film follows Tolkien's story and dialogue more closely than Jackson's version does! Jackson is either pandering to his own ego (or his wife's), or just trying to make the film(s) appeal to more people than just Tolkien fans; and the only reason for the latter would be money.

Aside from the above criticism, I was very annoyed by WETA's cheesy computer-generated Cave Troll and Balrog. This garbage belongs in a video game, not an important epic film. What ever happened to employing the talents of real artists like Ray Harryhausen or Jim Henson's Creature Shop? Is it just me, or are today's film makers relying too heavily on computer-generated effects, and using the words "can't be done" or "not within the budget" as a scape-goat to seeking alternative ways of creating effects, like the filmmakers of old had to do?

However all scrutinising aside, The Fellowship Of The Ring is an overwhelming cinematic experience, and one which should not be missed by anyone; with the exception of pre-teens, to whom this film will only terrorise. This is a tremendous Christmas present, and I thank Peter Jackson and everyone involved in its creation for it. It's difficult to believe that there are two more films of this calibre to follow. I look forward to their release, as well as a few more viewings of The Fellowship Of The Ring.

In closing I'd just like to say that Tolkien fans have still not been given a definitive screen version of The Lord Of The Rings. In fact, the only way I believe it would be possible to remain faithful to Tolkien's story and (even edited) dialogue, would be to make a complete mini-series for non-commercial television; basically, a visual accompaniment to the long BBC Radio production. Perhaps one day someone with enough integrity and who cares enough will.

If I could give this more than five stars, I would!!!
"We can make them longer, stronger, better!" When Peter Jackson said this about the extended DVD versions of the films, I'm sure hordes of movie fans disagreed. They were WRONG!! The Lord of the Rings trilogy is quite possibly the best thing that's ever happened to the movie industry, and these extended version DVDs are the best things to ever happen to DVD players. This first installment was great in the theater, but the extended version is better. Several things are explained in greater detail, and you can't tell where new material has been inserted. It's flawless, from the acting to the music to the scenery. I can't say enough good things about this movie. Oh yeah, the extras are nice too.

Will be remembered as one of the best films of all time....
Without repeating the reviews of the rest listed here....I can say that the extended editions add more texture to the story and the documentary DVD's give you more background and understanding of the story.

It made me want to read the books to see what the films couldn't touch upon ...the poetry and descriptions of middle earth are very much on target. I really hope that Jackson gets the chance to do the Hobbit. It would be a crime if it wasn't adapted by him in the very near future. All I have to say to the film makers is ..Lets see the Hobbit before the actors become unavailable to produce the film! ... Read more

Reviews (493)

Way underrated
Anyone who has ever worked in corporate America will relate to this hilarious gem.
It is low key as opposed to slapstick comedy. I think the movie was well cast about a cube dweller who had enough and basically quits working and gets a promotion to upper management while his hard working and dedicated buddies get slated for layoffs by "The Bob's" two management consultants.
Ron Livingston does a great job as Pete Gibbons, and Ajay Naidu as "Samir Nu, ne, nunu, uh nnn ,not work here anymore" David Herman as Micheal-why should I change - Bolton.
The boss Lundbergh is played perfectly deadpan by Gary Cole, and I think there is a Tom Smykowski and Milton Waddams in every organization. Lets not forget the "Bob's" I knew two idiot consultants just like them.
Office Space has it all, from stupid meetings, CI programs, and of course the infamous TPS reports - "didn't you get the memo about the new cover sheets?"
I could not stop laughing through the whole thing.

Well worth the price of the DVD, even though the transfer was only fair.

Hiliariously Close to the Truth
Though the situations and characters in Office Space are certainly larger than life, they are not that far from the truth--to which those of us in the corporate world will readily attest. That's what makes the movie so delightfully funny: seeing characters on screen act out (without much exaggeration) the trials and tribulations of today's desk-bound workforce.

The plot of the movie itself is somewhat secondary to its entertainment value. Basically, the main character (Ron Livingston) isn't happy with his job; having been asked once by his high school guidance counselor to picture what he'd do without being paid and consider that his ideal job, he responded that he's like to sit around and do nothing. The rest of the main plot centers on his attempt to get his life back on track, from discovering a love interest in a local waitress (Jennifer Anniston) also unhappy with her job to plotting revenge on his company for firing his friends.

Quickly one sees exactly why the characters are so unhappy with their jobs: a clueless, paper-shuffling boss who speaks in total monotone; inane office regulations requiring more time spent on reports than on real work; faulty office equipment; and so on. Carefully crafted to represent archetypes we all know from our own office experiences, the characters and their attempts to break free of the 9-to-5 drudgery are absolutely hilarious.

You don't have to be a computer programmer or engineer to enjoy this film--all you need is to have worked somewhere once in your life that was far from the ideal environment. Watch this film and enjoy a laugh at schmucks who have it ten times worse than you ever have!

THE comedy movie to see from the late 90s
If you see one comedy from the late 90s, see this one! The cast is great, and the story is better. The only person I know who didn't like this movie just doesn't understand the modern industrial/metroplitan environment. Driving to work in Silicon Valley REALLY IS THIS BAD, and if your definition of heavy traffic is going 15-20 mph on the freeway, you might not appreciate this film.

Dilbert's got it easy!
OFFICE SPACE either suffered from bad marketing or poor distribution because I had never heard of it nor did many of my movie-going friends. When I saw it on cable, I kept asking myself, "Where did this come from?" While the film occasionally breaks down in predictable sequences and cheap shots, it really does hold together remarkably well. This is one of the better written, directed and acted comedies in a long time. Even though the late 90's office world it illustrates is long gone, muddle-headed supervisors, know-nothing consultants, and very weird office workers are not. Enjoy this movie!

A MODERN CULT CLASSIC
Having seen and enjoyed bits and pieces of this movie countless times on cable (usually on Comedy Central) over the last couple of years, I finally broke down and purchased it to add to my DVD collection. Smart move on my part. Now that I've seen the entire movie from start to finish, it makes a lot more sense now (I'd never seen the hypnotism scene). It has all the makings of a modern cult classic. How do I know? Because every time I roll across it on cable I usually wind up watching the balance of the film and enjoying it all over again. Having 2 Geto Boys songs on the soundtrack and co-starring Jennifer Aniston doesn't hurt either. Damn it feels good to be a gangsta. ... Read more

Reviews (34)

Explosive Mystery-Drama
In The Heat Of The Night is an explosively powerful murder mystery that at the time of its release in 1967 was quite controversial. It deals with a black detective, Virgil Tibbs (Sidney Poitier) going to a small southern town to investigate a murder. At first he meets the usually hatred and racism from the local cops led by the gruff and racist sheriff, Bill Gillespie (Rod Steiger) He is arrested and accused of the murder, but when discovered innocent, he goes on to solve the mystery and gain the respect of the sheriff. Both Mr. Poitier and Mr. Steiger are brilliant in the film. Although they do sometimes plays things over the top, the acting fits the mood. The actors make a fine team and they push one another to excellence. The supporting cast is quite strong with Lee Grant, Warren Oates and William Schallert and Norman Jewison guides the movie with his deft hand. Haskell Wexler's cinematography is sharp and Quincy Jones' soundtrack is right on. The film went on to win the Best Picture Oscar and Mr. Steiger took home the Best Actor prize.

Cinema's all-time best detective thriller.
Between the dark film noir of "The Maltese Falcon" and the creepy gorefests inspired by "The Silence of the Lambs," the detective film wasn't exactly a vital film genre. But at least one entry into the genre made a major impact during those years, and that was 1967's "In the Heat of the Night." Since it was released, much has been made of the movie's status as a powerful story of race relations during the time of segregation, but the fact is, these elements are somewhat secondary to its brilliant character studies and expertly-handled mystery investigation. This is THE detective film, and quite possibly THE police film as well.

The film begins with Bill Gillespie (Rod Steiger) -- sheriff of the small town of Sparta, Mississippi -- investigating the scene where a powerful businessman has been murdered. Gillespie's deputies arrest a traveller named Virgil Tibbs (Sidney Poitier) for the murder simply on the grounds that he is black, but he turns out to be a homicide detective from Philadelphia who was just passing through. After being cleared, Tibbs is anxious to leave Sparta, but Gillespie -- in need of such an expert -- convinces him to stay and help solve the case. And from there, we have our movie.

Besides the story, the main thing "In the Heat of the Night" has going for it are the performances of its lead actors. It would have been incredibly easy to portray Tibbs as a noble black crusader, forced by his innate nobility to offer his help in the face of hatred (Poitier had played this type of good-natured gentleman in many of his other films). It would have been even easier for Gillespie to come off as a mindless racist redneck. Neither description comes anywhere close to describing the characters in this film. Virgil Tibbs is arrogant and aloof when we first meet him. He's no hero; he's a real human being who reacts to the way the Sparta police have treated him in the understandable manner of trying to get out of town as quickly as possible. He doesn't want to help them, and even when he's forced to, he lets his prejudices against Southern whites cloud his investigation (Tibbs spends the majority of the film believing one of the victim's business rivals -- a detestable racist -- to be the murderer, only to be proven wrong).

If Poitier's portrayal of Tibbs as a realistic human being rather than a flawless screen hero is admirable, then Rod Steiger's handling of the Sheriff Gillespie character is downright masterful. Bill Gillespie does not like or trust African-Americans, and he makes no secret of this. And yet the filmmakers didn't fall into a cliche trap and take care to show that even though Gillespie is a bigot, he's also a good cop. Unlike certain similar characters (and even some of his deputies in this film), Gillespie doesn't allow his prejudices to stand in the way of his investigation (a character flaw that, oddly enough, Tibbs gives in to while Gillespie does not). This is no "Bull Connor" character; this is a man who knows his job, and does it well. Tibbs and Gillespie begin the movie as two prejudiced men who begrudgingly admit to needing each other's help due to the circumstances (Gillespie's lack of a homicide expert; Tibbs' being forced to remain in an unfamiliar and hostile environment), and end it with a powerful respect for one another.

"In the Heat of the Night" won Best Picture at the 1968 Academy Awards (the first detective film to do so), and Steiger took home the Best Actor award for his career-best portrayal of Gillespie. (Because this, "Guess Who's Coming to Dinner," and "To Sir, With Love" were all released in the same year, Poitier was unable to consolidate enough votes for any one film and thus failed to be nominated; Norman Jewison lost Best Director to "The Graduate"'s Mike Nichols.) That perfectly sums up this film's legacy: a brilliant film with two powerful lead performances, and an all-time classic of the detective genre.

Just About as Good as a Movie Gets
In 1967 Poitier made this movie and Look Who's Coming to Dinner. Both were extremely well received and this won academy awards for best picture and best actor. Poitier's career slid downhill from here almost immediately. That his status as The Greatest Black Actor Ever hasn't diminished nearly 40 years later is a testament to his excellence and influence in the late 50's and the 60's up until '67. The movie is nearly perfect. Rod Steiger gives the performance of his career. Poitier is excellent, of course. The story is good but the movie is really about the racial tensions and two men forced to work together despite their desire not to be in the same room together. Also at hand is a backward and archaic South being slowly dragged kicking and screaming into postwar 20th century.

TENSIONS FLAIR IN THE HEAT OF THIS NIGHT!
"In The Heat of the Night" is the racially charged melodrama that made Sidney Poitier a star. Poitier is Det. Virgil Tibbs, an out of state detective assigned to investigate a racially motivated crime in the deep South. Tibbs' initial congenial good nature immediate brand him a push over by both his fellow officers and the populous. But Tibbs is a man of conviction. He immediately runs into interference from Police Chief Bill Gillespie (Rod Steiger), a bigoted and pompous law man who begins to change his ways when it turns out that Virgil's hunch on the case might just turn out to be true. Both the central performances of Poitier and Steiger, and the unlikely bond and ultimate friendship that ensue, are electrifying reasons to revisit this powerful drama of the 1960s. Lee Grant, Beah Richards and Warren Oates costar. In the late 80s "In The Heat of the Night" became a prime time television series starring Caroll O'Connor. But by then much of the tempestuous and confrontational aspects of its subplot had been removed.

MGM/UA gives us a non-anamorphic widescreen DVD. Colors are severely dated with a lot of fading present throughout the print. Age related artifacts are everywhere and sometimes distract. Black levels are often weak. Pixelization is primarily responsible for an unstable image. The audio is mono and badly dated as well, strident and poorly balanced. There are no extras.

STEIGER AND POITIER AT THEIR HEIGHTS OF POWER
In 1967, Sidney Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

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In its day, V was a monumental event that for one generation remains a pop-culture touchstone. Close Encounters of the Third Kind may have reassured us that perhaps we have nothing to fear from alien visitors and E.T. introduced us to a benign extraterrestrial who only wanted to go home, but Kenneth Johnson's 1983 television miniseries knew better. Visitors who claim to come in peace are revealed to be nothing but human-looking reptilians on human conversion and conquest. As in the dark days of fascism, some collaborate with the enemy; others form the resistance.

At the time, the epic scale of this production was unprecedented. Those 50 motherships that hover over Earth's major cities anticipate Independence Day by more than a decade. The special effects and makeup are still awesome. Less so is the often-hackneyed dialogue. But thanks to their signature roles, the mostly no-star cast, most of whom would be reunited for a sequel and subsequent television series, have ensured themselves standing invitations to sci-fi conventions. Marc Singer is cameraman-turned-freedom-fighter Mike Donovan. Julie Parrish is a medical student-turned-rebel. Richard Herd is the aliens' supreme commander. Jane Bradler is Diana, the ravishing but ruthlessly ambitious alien science officer. Leonardo Cimino lends dignity to his heavy-handed allegorical role as a Holocaust survivor. Look for a pre-Freddy Krueger Robert Englund as one of the aliens.

The DVD is presented for the first time in widescreen format. Supplemental features include an amiable and enlightening director's commentary and a brief "making of" segment. --Donald Liebenson ... Read more

Reviews (138)

Great Movie, great disc
Like many, I was a BIG fan of both the "V" mini-series as a kid. Though even as a kid I found the dumbed-down weekly series to be sub-par, which is ironic considering I was the target demographic NBC was looking for. In rewatching the mini-series' as an adult it's apparent that "V: The Final Battle," while good, was also inferior to Ken Johnson's original. It's a shame he wasn't allowed to guide the further installments, "V" would probably still be on the air today in some form.

I wanted to clear up some of the confusion I'm seeing in these postings. First of all there is no missing footage, the mini-series is not cut in half. This DVD is exactly what it is billed as, "V - The Original Mini-Series." The original "V" was two parts which ran over two nights in 1983. It didn't have an ending, it wasn't really suppose to in order to tell its allegorical tale. The second mini-series, "V : The Final Battle" was three parts and aired over a year later. Both mini-series' were syndicated to UHF stations in the late eighties. Those stations usually ran all five parts over a week, though heavily edited. That might be what's confusing some. Considering this DVD has sold about four times better than Warner Bros. was expecting, I'd say it's a sure bet "The Final Battle" will be released on DVD before too long.

As to the Gag Reel, sadly it's not on the disc. It was supposed to be but unfortunately, Warner Bros. was unable to clear it for release. Too many of the actors wanted to be paid an additional fee for its inclusion on the disc. ... just never updated the information. Hope that helps!

''V'' is for ''Visionary''
*
"V," the NBC Television mini-series which first aired nearly two decades ago, was intended to be seen for its entertainment value though, admittedly, using some pre-mid 20th century historical elements to contribute to the overall plot and theme of the story -- specifically World War II Germany (the alien "national symbol" even resembling an incompleted 'connect-the-dots' swastika). Little did the writers, directors and producers of this mini-series realize that their sci-fi project was a late 20th century prophecy which would begin seeing fulfillment in the just few months shy of the dawning years of the 21st century.

The purchase of this DVD marked the very first time of my ever seeing this feature, and I was instantly hooked, especially by its dazzling high-octane opening sequence. The special effects were also nicely done considering the time period in which it was made, that it was a "made for television" movie, and the fact that it was made on the cheap. (It was also nice to see Robert Englund as something other than a flame-scarred tragedy figure.)

The story of "V" revolves around a race of seemingly benevolent space aliens who look, sound and act a lot like us. They convince the world that they are our friends and only wish to extend the hand of cooperation & unity and work toward a "common good" where all will benefit. But there are those who have some very gnawing suspicions about the "Visitors," that they are not quite everything they appear to be -- which is a serious understatement, for it turns out that the real agenda of the "Visitors" is to rape the planet of its most precious resources and enslave humanity.

"V's" creators obviously tried to parallel the story with National Socialist Germany, but in hindsight it becomes frighteningly obvious that "V" was as much a vision of the "historical future" as it was a view to the "historical past!" That unintentionally forseen future sneaked up on us and, just like in the mini-series, nobody took notice... until it was too late! That "future" which "V" foreshadowed occured during the "Campaign 2000" ("C2K") presidential [s]election! The similarities are too hauntingly similar:

> "V": "Visitors" came as "friends" promoting "brotherhood" and prosperity for all.
> "C2K": Republican nominee presented himself as a "compassionate uniter" who promised a strong, vibrant economy.

> "V": "Visitors" took control without being duly elected and under suspicious circumstances.
> "C2K": Republican presidential administration took control without being duly elected and under suspicious circumstances.

> "V": In order to usurp power, "Visitors" took advantage of impotent elected government officials.
> "C2K": In order to usurp power, Republicans took advantage of impotent elected Democrat government officials & politicians.

> "V": "Visitors" fabricated a non-existent energy crisis on their homeworld in order to plunder & exploit the precious natural resourses of earth.
> "C2K": Republicans fabricated a non-existent energy crisis in our homeland (in California specifically and in the whole of the United States in general) in order to plunder & exploit the precious natural resourses of the Arctic National Wildlife Reserve.

> "V": Major news media almost unilaterally gave supportive non-critical "pro-Visitor" spin to the news and did all they could to suppress independent media outlets and put a halt to, or discredit, any serious investigative news reporting.
> "C2K": Major news media almost unilaterally gave supportive non-critical "pro-Bush" spin to the news and did all they could to suppress independent media outlets and put a halt to, or discredit, any serious investigative news reporting.

> "V": Scientists were demonized by "Visitors" as unwholesome, unpatriotic, and even dangerous elements of society.
> "C2K": Environmentalists, corporate regulation advocates, and civil rights advocacy groups were demonized by Republicans as unwholesome, unpatriotic, and even dangerous elements of society.

> "V": "Visitors" preached peace and tolerance while instigating a very one-sided "endless war on terrorism," resulting in the repeal of certain rights guaranteed under Constitution-- including and especially 'free speech' --and labelling anyone critical of their unconstitutional actions as having sided with terrorists.
> "C2K": The Bush Administration preached peace and tolerance while instigating a very one-sided "endless war on terrorism," resulting in the repeal of certain rights guaranteed under Constitution-- including and especially 'free speech' --and labelling anyone critical of their unconstitutional actions as having sided with terrorists.

> "V": "Visitors" operated a 'secret government' from a base on their homeworld.
> "C2K": The Bush Administration established a secret government in an undisclosed location here in our homeland.

Where does one stop with all of the comparisons? The similarities are virtually endless! The only thing missing is a distinctive insignia to rally behind (that is, of course, if one doesn't already consider the American Flag to be it), designer costumes for the "Youth Brigades," and entire sweeps of towns and mass imprisonments.

In "V" the violators of our basic and most cherished rights were lizard-creatures wearing human-looking skin; In 21st century America they are human through-and-through, though they often speak with the 'forked tongue' of a reptile!

The makers of this mini-series probably had no idea they were developing a story with an eye on a direct future outcome, which makes this series even more enjoyable and even more disturbing to watch. Everyone should watch this video, not only for the entertainment value, but also as a warning and a wake-up call!

[Dialogue from the film]:
(Mike Donovan): "How did someone like that get to be your leader anyway?"
("Martin"): "Charisma. Circumstances, promises. Not enough of us spoke out to question him until it was too late."

* * *

"Do it Right.....V.......For Victory"
Sure the hair, Ferrari Sunglasses, and fashion scream 80's! The opening montage of the movie's stars pictured with thier names is straight out of any cheesy "movie-of-the-week" opening. But that is where "V"'s comparison to other made for TV movies ends. Look beyond all of that and you will find an engrossing story. A true underdog story that everyone will enjoy. Sure, "V" is basically a science fiction retelling of the Nazi takeover of Europe, but it is also much more. When I was a kid and this Mini-series first aired, me and my buddies couldn't get enough. Now watching it 20 years later, I wasn't sure how it would hold up. My wife who had never seen "V" figured I had just doomed her to another evening of "rubber" alien suited actors chasing half clothed women who are stupid enough to seperate themselves from the hero/heroine. But after about half an hour, "V" captured her imagination and attention as well. If you have never seen "V", then try not to find out too much of the story, and get this disk. Let if unfold for you the way it did for me back in 1983, and for my wife just the other night. You will be swept along on a journey that will not disappoint. The special effects hold up well, considering this was done before computer animation (which usually ends up looking worse than a guy in a rubber suit). The acting is okay too (I mean let's face it, "V" stars the Beastmaster guy and one of the students from The Greatest American Hero, plus a few scenes with Freddy Krueger), but it really is just the basic story that is so gripping. And now that this DVD is around $10 you just can't go wrong.

Not a complete piece
V is a rarity - a seminal achievment of classic sci-fi in a made-for-TV movie. This mini-series provides the groundwork, primarily the expository "these are the aliens, these people are the good guys, who's right and who's wrong" setup of the larger story. I remembered V very fondly from my youth, and was a bit dismayed to discover how seemingly incomplete this first mini-series was. When viewed with the now-available "V - The Final Battle" it's quite a satisfying ride. I would highly recommend buying "V" with "V - The Final Battle" and watching them as one. If you just buy this one, you'll be left wanting more.

Soon to be available? V - The Complete Series. A worthy continuation of the TV epic. At the time of its production, it was the most expensive per-episode TV series ever made. Now, a single cast member from "Friends" makes more per episode than an episode of "V" cost to make.

This mini-series is still awesome after 21 years!
After seeing this again, after 20 or so years, I still love it. Truly it is one of my favorite pieces of film of all time. It was way ahead of it's time in 1983. The storyline, special effects, and acting were all excellent, and the ending is climatic. Although it is 10 hours long, I didn't want to stop watching it, then or now. It really parrallels life, and hopefully will continue to open people's minds. I've now showed it to my children and pointed out how it is reminiscent of the holocaust in many ways. I definitely recommend that if you have never seen this, you do, and if it's been awhile, check it out again. It's fun the second time around. ... Read more

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At first glance, this 1991 comedy looks like another formulaic fluff-piece with a standard fish-out-of-water scenario--in this case a hotshot young doctor (Michael J. Fox) whose cross-country drive to become a Beverly Hills cosmetic surgeon is interrupted when he crashes in the rural hamlet of Grady, South Carolina. But as Fox's character is urged by the folksy locals to stay--an offer made tempting by his romance with a law student (Julie Warner)--this unassuming little movie just gets better and better thanks to a sharp script and a splendid supporting cast. Well, okay ... maybe Woody Harrelson and Bridget Fonda aren't used to the fullest of their abilities, but for the most part this is a charming and surprisingly intelligent comedy that's good enough to compare favorably to My Cousin Vinny, a film with which it shares much in common. Fox has all the right moves to make his character both bullish and ultimately agreeable, and Julie Warner's performance may leave you wondering why this fine actress didn't immediately rise to stardom. --Jeff Shannon ... Read more

Reviews (36)

Warm and funny
With its "hardened city boy recognizes what is important in life" plot, as predictable as that might be, I found this movie to be warm, funny, and poignant. It fits my general criteria defining a good movie in that the lead characters were likeable with a good chemistry, the story is sufficient to keep my attention, and it has a happy ending. I have always enjoyed the romantic comedy genre and this movie fits the mold well.

The chemistry between Michael J. Fox and Julie Warner is good and the interplay with the other characters (played by David Ogden Stiers, Barnard Hughes, etc.) is enjoyable to watch. Coupled with the small town setting in rural GA, its simple truths and more relaxed view of life are vaguely reminiscent of the old Andy of Mayberry TV show - and that's not a bad thing.

While not the type of movie that ever receives critical recognition, this movie is simply a pleasure to watch. It does something I find all too rare in the films that tend to be recognized in the "let's-give-ourselves-another-award-for-making-a-deep-dark-and-brooding-film" world of the awards shows - Doc Hollywood left me feeling good and I enjoyed the time I spent watching it. Some would call this solely a "chick flick" but I grade it as a good, light romance for all and a DVD that's a must in your collection for those days when you just feel a desire to watch something "happy".

a gem of a movie
I didn't like Doc Hollywood the first time I saw it in 1991 --- then I watched it again a few years ago and was blown away by the writing, acting and all-around sweet nature of the film.

Dr. Ben Stone is leaving DC for a job doing plastic surgery for celebs in LA when he runs into a picket fence in a small Southern town and has to do 3 days of community service at their clinic as penance. His fancy sports car is totaled anyway and he has to get it fixed. Miffed at being waylaid in such a hokey place, he tries to get through the next few days in time for his new job.

He meets a wide cast of characters -- and to their credit, not everyone in a small town is so gosh-friendly. Some are mean, some are troubled, some are nice -- like any other array of people. Ben meets Lou, a single mother who drives the ambulance, as well as Nancy Lee Nicholson, a confused beauty who wants him to take her to LA.

This movie is great because it is about many people deciding for themselves how they want to live -- whether in a big city or in a small town -- and why they value what they do. It is also about an epiphany for Ben Stone and changing of his ways internally.

Maybe the best "date flicks" I've ever seen.
I normally cannot watch movies on airplanes for some reason. I first saw "Doc Hollywood" on the grueling Boston-LA flight, and it immediately captured and held my interest for the entire flight. More than anything, that fact illustrates that this is a truly engaging flick. This is a genuinely funny movie. One thing that this movie does is lay to rest any doubts anyone might have had about Michael J. Fox's acting ability. In my opinion he turns in a stellar performance, albeit supported by fine jobs by the supporting cast. The part where he finally goes to LA is absolutely hysterical, by the way.

The story is very simple (no spoilers here). The protagonist (Michael J. Fox) is on his way to a job interview for a position as a plastic surgeon in Beverly Hills. He has an accident in a small Southern town ("Grady") and is sentenced to several hundred hours of community service. The town needs a doctor, and its real purpose is to recruit him as a permanent resident physician. Naturally, Doc meets a nice girl and now the choice is between money as a big-shot LA plastic surgeon and lifestyle in a nice rural setting. There's a lot more. I won't spoil it for you. Doc's slow assimilation into the town of Grady is wonderfully done. This movie manages to be both touching and funny, and I say this as one who is normally not much for comedy or date flicks.

Michael J. Fox shows in this movie that he had the potential to go far, as indeed he did.

One of michael j. fox's best!
The only movie in my belief that surpasses this one is "The secret of my success". If you like a good down home country turned city movie then this one will be a must see over and over!

Feel-Good Movie
If you live in a big city and have also lived in a small town, you'll love this movie. The cast is great. Michael J. Fox and Julie Warner make great movie chemistry. And Julie Warner is awesome, as always. I laughed out loud many times. And the pig is hilarious. ... Read more

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One of the most invigorating period adventures to hit the big screen in decades, this lavish, brilliantly directed film drew critical and audience raves when it was released in 1995. Inspired by historical fact and larger-than-life legend, the intelligently scripted story takes place in Scotland in 1713, when Highland farmer and clan leader Rob Roy MacGregor (Liam Neeson) is forced to borrow money from the duplicitous aristocrat Marquis of Montrose (John Hurt) to help his clan survive a harsh winter.When Montrose's vile henchman (Tim Roth) schemes to dishonor MacGregor and his wife (Jessica Lange) and take the money for himself, the rugged Highlander must take courageous action to preserve his integrity. What follows--along with some of the finest sword-fighting ever filmed--is a tale of courage and valor destined to become an enduring movie classic. Tim Roth received a well-deserved Oscar nomination (for Best Supporting Actor) for his indelible performance as the foppish but deadly villain Cunningham, and both Neeson and Lange bring an earthy, sensual quality to their passionate roles. Boasting a wealth of breathtaking scenery and high-intensity action, Rob Roy is further blessed by a splendid supporting cast (including Brian Cox and Eric Stoltz), and the lush soundtrack by Carter Burwell strikes a perfect balance of romanticism and vigorous dramatic energy. --Jeff Shannon ... Read more

Reviews (66)

Scottish Western.
Directed by Michael Caton-Jones, written by the superb screenwriter Alan Sharp. Compared to other Hollywood productions, especially adventure pictures, the I.Q. of *Rob Roy* seems very high. And compared to Mel Gibson's *Braveheart*, to which this movie will be eternally and unfairly linked (both being treatments of legendary Scottish heroes that were each released in 1995), the dialogue in *Rob Roy* sounds like poetry: not merely intelligent, but downright metaphoric, even when vulgar (listen for Tim Roth's little speech about love being like a dunghill). But the intelligent writing and meticulous realism should come as no surprise to those conversant with 1972's *Ulzana Raid*, which was also scripted by Scotsman Alan Sharp, based on his novel. That was one of the greatest and most rigorously realistic Westerns ever made . . . and so is *Rob Roy*, despite its setting in early 1700's Scotland. All the traditional elements of the classic Western are here: good vs. evil, rich vs. poor, one man pitted heroically against the world, played against a backdrop of majestic beauty that puts it all in context. Those expecting an adaptation of Sir Walter Scott's beloved novel about Rob Roy MacGregor will be disappointed on that score. Instead, the movie is an imaginative prequel of sorts that takes place before the serious Jacobite uprisings depicted in the novel. It shows the impetus for the hero's later actions. And boy, does he get some impetus! Pitted against a triumvirate of scoundrels -- John Hurt as the Earl of Montrose, Brian Cox as Montrose's henchman Killearn, and most notably Tim Roth as the vile fop Archibald Cunningham, who's Montrose's deadly bodyguard -- Liam Neeson's Rob Roy doesn't stand a chance of remaining unscathed while treading the moral high ground. The worst of the depredations that come home to him is the perfunctory, brutal rape of his wife (Jessica Lange, sans make-up) by Cunningham. Those who are more than commonly sensitive to such scenes are well advised to look the other way -- this is one of the worst rape scenes in all of cinema. Ugly, but viscerally effecive. Other great scenes include the hero's last-second, desperate escape from Montrose's hangmen, followed by his hiding from them in the bloated carcass of a cow. The mandatory climactic sword-duel between Roth and Neeson is justly famous, and not to be missed. Perhaps the only thing lacking in *Rob Roy* is a great action sequence, a la *Braveheart* (which has at least one too many!). Somehow, the duel at the end, great as it is, doesn't seem quite hearty enough to whet the appetite for action that the movie inspires. While this is a genuine failing, it doesn't mar the movie's many virtues.

A good movie ' but it's just a story, not history
Rob Roy McGregor actually lived, an eighteenth-century Scottish clan chief who followed the traditional life of such men - leading his people, raising cattle, rustling other clans' cattle, engaging in feuds, killing his enemies, and so on. Historical novelisation has romanticised him and his activities, and this film continues the process.
It's a good movie: strong and noble-spirited leads, goodies struggling against the odds and the system, evil baddies, fights, sex, a climactic duel, and ultimate victory for the goodies, all against gorgeous Scottish scenery, what more could one want? But it's not a history lesson. And this is where so many reviewers have gone wrong. The film's makers missed the chance to show the background political context that makes sense of so much of what went on at the time.
And as a Scotsman I would add that while Liam Neeson and Jessica Lange turned in good performances, their 'Scottish' accents were only slightly less cringe-making than that of Engineer Scott from 'Star Trek'.

Nice scenery, story is lacking
Based on what we've seen in the film, Rob Roy's honor is the most important thing to him. But does that mean that cunnying, intelligence, leverage, and knowledge is to be discarded? Rob Roy does everything wrong in this film from the moment he allows one man to act has his financial agent to the fact that he doesn't use his allies against those that are trying to kill him and who end up raping his wife, he acts in typical Hollywood fashion as an idiot.

The film would have been quite short if he would have done the right thing from the very beginning. But, alas, we would have no film so hence the stupidity from which we are tortured.

The film has some great scenery and the acting is enjoyable except for the brutal rape scene of Roy's wife. Other than the scenery and acting, there's not much to see let alone giving cause to buying the DVD.

What's not to like?
A wonderful film overshadowed by "the other" kilt movie that came out that same year, Rob Roy is stuffed with action and romance and political intrigue. Brilliant performances by Liam, Jessica, and especially Tim Roth and a then unknown Brian McCardie. Brian gives a stunning debut performance as Rob's younger brother Alistair (who, though he didn't exist in real life, sure made for great cinema!). A great story that will have you weeping and pining for the highlands!

sexual violence a turnoff
I missed this movie in the theatres and was eager to see it. The acting, scenery, snd musical score were all superb. What turned me off was the ( as also stated by another reviewer) protracted rape scene. It was about as brutal as it gets and went on far too long. I think this was really unnecessary since ( when Tim Roth forced Jessica Lange accross the table) we all knew what was going on.Having been a victim of sexual violence, I was completely turned off by the prolonging of this scene. Totally unnecessary to do this. ... Read more

Amazon.com essential video

The Russians Are Coming, the Russians Are Coming looks overly cute now, but really, it was pretty hip for 1966. The cold war was in full deep-freeze when this well-meaning comedy tried to thaw things out a little: a Soviet submarine beaches on the New England coast, sending the locals into a paranoid frenzy. The chief pleasure of the film is Alan Arkin as the sub captain; this was Arkin's first major film role, and he had already mastered his exasperated, slow-burning frown (to say nothing of mastering his Russian dialogue). Arkin snagged an Oscar® nomination, with the movie receiving nominations for best picture, adapted screenplay, and editing--nods that reflect the film's smashing success at the box office. Somewhat dated now, the movie still has its place in the roster of raucous, American small-town comedies; seen in childhood, it will linger nicely as a depiction of foolish grown-ups. --Robert Horton ... Read more

Reviews (39)

The Laughs are coming, the Laughs are coming !
I have watched this movie more times than I can count, and each time I find myself laughing until I cry. When a Russian submarine accidentally runs aground of a sleepy little island summer town, the people literally go nuts. Alan Arkin, Carl Reiner, Brian Keith and Jonathan Winters are just a few of the many fine actors who make this movie a laugh a minute. When the bumbling Russians tie up and gag the elderly Post-Mistress "Muriel Everitt" and sit her on top of the refrigerator - you will laugh until your sides ache when her nearly deaf husband eats breakfast 2 feet from her and never realizes she's behind him struggling to get his attention. The sight of Carl Reiner tied up face to face with the hefty town operator and their efforts to hop down a steep flight of steps, (ending, naturally, with the heavy woman falling on top of Carl Reiner and passing out ) is more than I could take with out laughing until I cried. Please rent this movie and have the entire family watch it with you. It's in the genre of "It's a Mad, Mad, Mad, Mad World" and you will enjoy every moment !

Everybody to get from street...and buy this video!
I also agree that this has to be one of the best comedies from the 1960's. With Norman Jewison directing, this isn't your average flick, quite polished for a comedy, with excellent editing and cinematography and a strong script adapted from Benchley's novel. Jewison's creation of place captures just the right amount of sleepyness for this small island, and is perfect. Many of the performances are also exceptional, highlighted by Brian Keith as the long-suffering Glouscester Island sheriff; Jonathan Winters, of course, as one of his deputies; Carl Reiner as the vacationing writer; Eva Marie Saint as his long-suffering wife; their son (whose name escapes me, but who almost steals the movie with his antics); and Alan Arkin, as the long-suffering Soviet submarine lieutenant who must somehow get his sub off the reef. But first he must venture on-shore with his men and into the lives of the feared Americans. For its time, this movie must have been quite subversive given how the Russians are portrayed, which is truthful, normal and with affection. These aren't killers, just sailors, and right off the bat we're rooting for them to succeed. Arkin gives one of his best performances ever; it's a pleasure to watch him swing from drama to comedy and back. His rendition of the Reiner character's name as "Whitaker Walt" is a classic and a family favorite. He does it all here, and very movingly. The same can be said for Keith, who also shows great range and appeal. This movie also has one of the best endings of any film. A great comedy with a great message.

Excellent Anti-War Comedy
A Russian submarine runs aground on an island near New England. The Russian skipper (Theodore Bikel) sends a landing party ashore to find a boat to tow the stranded sub. The landing party is headed by Alan Arkin. The winter residents of the island have a police department of sorts which is headed by Brian Keith and his assistant is Jonathan Winters. Paul Ford heads a small band of mostly unarmed volunteers. Carl Reiner and Eva Marie Saint are taken captive by the hapless Russians. In response to the "invasion" Ford rallies his group with slogans which remind us of the battles of Concord and Lexington and also Bunker Hill. Two old ladies ride through the village on a motorcycle doing their own imitation of Paul Revere.

The movie is an anti-war comedy made after the Cuban Missile Crisis and during the period of escalation in Vietnam. It is also a time when private bomb shelters are being built by Americans.

THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING received Academy Award nominations for Best Picture, Actor (Alan Arkin), Adapted Screenplay and Editing. The main competition for Oscars in 1966 came from A MAN FOR ALL SEASONS.

Norman Jewison also directed FIDDLER ON THE ROOF and JESUS CHRIST SUPERSTAR.

One of the funniest ever
I'm old enough that I first saw this classic at the theatre, yep, upwards of 40 years ago. I laughed then, and haven't stopped.

I have a habit of collecting films that are a must for my library when they come out in different formats. So, while I already had this in VCR, it's now necessary to get it for DVD. It hasn't lost even a little of its humorous effect.

Where does one start? Alan Arkin was brilliant, deserved an academy award. Carl Reiner was fabulous. Perhaps my favorite of all, even to this day, was Paul Ford. (Oh, and Jonothan Winter's part is incredible.)

But the DVD is even better than the others. You see, there's an interview with producer/director Norman Jewison that's worth its weight in gold. He goes on about how well the actors worked together. And I remember that the film, even in my much younger days, gave me some hope: Maybe we CAN live together despite Cold War rhetoric and the like. It seems the Russians felt the same way!

This is a film that should be part of everyone's collection. It's hysterial, satirical, some of the finest acting I've ever seen--and a collection of one liners to make the Marx Bros. jealous. Get it and relish it.

HILARIOUS!
This movie is really funny! It is a light-hearted comedy. The chocolate cake scene is the funniest and "Mr. Whitaker, Walt" does a great job! Although this was a highly stressful time for the USA with a pending threat from the USSR, it is funny to see how the people ultimately react. ... Read more

Reviews (65)

"The wind whispers of fear & hate. The war has killed love."
There are films that continue to haunt you long after the end credits fade away. There are films that horrify you because of the gruesome imagery that bombards you while you sit in the darkened theater. And then there are films whose haunting and horrifying nature is magnified even more because it is based on events that actually happened. Such a film is Roland Joffe's "The Killing Fields."

"The Killing Fields" chronicles the journey of two friends who find themselves swept up in the revolution in Cambodia during the 1970s. As the Khmer Rouge comes to power, New York Times writer Sydney Schanberg (Sam Waterston) and his assistant Dith Pran (Haing S. Ngor) witness firsthand the transformation of Cambodia's cities and countryside under the new regime. As the situation becomes more dire, Schanberg finds himself in a difficult situation - he knows Pran will run afoul of the new government once the Khmer Rouge completes their takeover but Schanberg still needs him to finish his duties for the New York Times. Both men hope for the best but when Pran attempts to leave the country, he finds that his window of opportunity has disappeared and he is trapped in Cambodia.

"The Killing Fields" is a film that pulls no punches. Watching Pran trying to stay alive from day to day is a sobering viewing experience. While its story explores the broader political implications of the rise of the Khmer Rogue, the true drama revolves around Pran who embodies the personal suffering of all of the regime's victims. While Waterston is outstanding, this is a film that delivers it message through Pran, and Ngor is more than up to the demands of his role. His performance is honest to the point of heartbreak. This film is not easy to watch but it is a worthwhile journey for those with the courage to sit through it.

Mankind Destroying Itself
The Killing Fields is absolutely one of the gr