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"This is a diary of hate," pounds out novelist Maurice Bendrix (Ralph Fiennes) on his typewriter as he recounts the lost love of his life in this spiritual memoir (based on Graham Greene's novel) with a startling twist. It's London 1946, and Maurice runs into his achingly dull school friend Henry (Stephen Rea with a perpetually gloomy hangdog expression). Their meeting is brittle, all small talk and chilly, mannered civility beautifully captured by director-screenwriter Neil Jordan (The Crying Game), and it only barely thaws when Henry suggests that his wife, Sarah (the luminous Julianne Moore), may be having an affair. Maurice's mind reels back to his passionate affair with Sarah during the war years, which she abruptly broke off two years ago. Gripped with a jealousy that hasn't abated, he hires a private detective (a mousy, marvelous Ian Hart) to shadow her movements. He prepares himself for the revelation of a rival but instead finds a deeper, more profound secret: "I tempted fate," she writes in her diary, "and fate accepted."

Jordan's cool remove captures the unease beneath formal manners but never warms into intimacy during the scenes between the lovers, even while Fiennes and Moore almost explode in repressed emotions, their faces cracking under their masks of civility and their resolve shaking through jittery body language. There's more thought than feeling behind this collision of passion and spirituality, but it's a sincere, richly realized portrait of ennui and rage against God energized by brief moments of shattering drama. --Sean Axmaker ... Read more

Reviews (82)

Mature Love for a Anxious Audience
In these times of youth galore and Generation X, it is indeed rare to come around and find a love story which can be labeled *mature* and have that not be an overstatement of fact. This film, while not blowing away the box office upon it's U.S. release, certainly encompasses three sensational performances, a director who truly keeps to the spirit of the written word, cinematography that plays integral part of the story itself and a score that haunts with subtle yet vibrant beauty.

While no one can deny that Julianne Moore is the centerpiece of the tale as Sarah, Ralph Fiennes and Stephen Rea are also to be lauded for their interpretations of Bendrix and Henry respectively. Fiennes, in a role of quiet intensity and soft-pitched rage takes us into the psyche of Bendrix and gives us perhaps the best visual image as to what life must have been been for Graham Greene himself during the affair that marked his life. Rea as the cuckhold Henry is, as has been written a dullard through and through, but what makes his interpretation noble is the fact that he is well aware of it at every instant. It's obvious that his marriage to Sarah was at all moments a marriage of convenience that hoped for something better, but that never truly reached the pinnacle of love.

The tale begins with Bendrix's "diary of hate" and never loses that. Yes, he hates and never stops hating but as a constant, love is tempered and fed by the fuel of such fires. Ultimately, it is fate that becomes the undoing and the true end of the affair.

Dilution of the Miraculous
Graham Greene's The End of the Affair has been for many years one of my very favorite books, so I was excited when I heard that it had been made into a movie. Hollywood, however, in recent years despises anti-heroes and could not bring itself to make a villain out of Morris, played by Ralph Fiennes, as had Greene. It also diminished the impact of the miraculous that the book brought to the reader, that obvious sense of God's presence and love that Morris so firmly rejected even when it saved his life.

This is not to say that this isn't a watchable film: it is only in the last minutes that the film destroys the beauty of Greene's original vision. Fiennes, Moore, and Stephen Lea play their parts very capably: Lea, in particular, acts very capably as the dull, but kind Henry Miles.

But as I noted before, the film removes Greene's ironic ending by making Morris too good. In the novel, Morris (who is also the narrator) is the Seducer who can see only evil in the world. Sarah Miles, on the other hand, often sees selflessness when Morris believes himself to be selfish. When his own life is saved by apparent divine intervention, Morris will not see the miracle nor does he appreciate the sacrifice that Sarah has made on his behalf. Following Sarah's death, Morris is faced with what is for him a very frustrating manifestation of God's presence in the reappearance of the once sinful Sarah as a saint who cures the sick! He continues to reject God, however. In the end, frustrated and alone, he admits that God exists and declares his hatred. "Leave me alone forever." The reader is left with the clear feeling that the joke is on Morris.

The movie softens the case against Morris. It has him bringing glasses of warm milk to the bedside of the cuckolded husband. He prays that Henry and Sarah be taken care of by God "but leave me alone forever". One gets the feeling that the producers/directors/actors had some of the following motives in mind:

* To not make Ralph Fiennes into a villain

* To avoid making a film which would be critical of people who fell in love with married people

* To avoid making a film which in any way might make Catholic teachings palatable. (For the record, I am agnostic.)

* To have a happier Hollywood ending than the book had had.

I ended my viewing of the film feeling that I had just seen a remake of The English Patient with a kinder husband and a slightly less sluttish wife. If I could change the last ten minutes of the film and return to it the sense of Greene's irony, I could give it a full five stars. I had to ask "How truly did this represent Greene?" And the answer was "Not very well." Perhaps those who have not read and loved Greene will feel better about this film. It is, without that comparison, an ably acted and filmed love story, if conventional in its treatment of adulterous lovers.

To quote Greene speaking through Morris: "That's not what I wrote!"

A gentle movie!
This movie was a touching love story. Even though most love stories are lame this one was a strong-flavored movie. I think it is one of the best movies I have ever seen.

Rather a surprise
As per the original, or Jordan's attempt to recreate such, the film is unusually subtle, thoughtful, and, yes, mature. One feels that Jordan himself may be a nice person, as the plot is washed in that which was meant to lend interest to many an older, B&W, British drama: character. Whether or not Sarah (or Bendrick, for that matter) could be seen as good despite her/his adulterous frailty isn't the point - it's a red herring, swallowed neatly and idiotically by this film's 1st Amazonian reviewer. In my opinion, this film is about two things: (1)character, and (2) faith, and its surfacing in the least likely of places. As such it's a nice trip back to a time when, at least via art, themes of maturity, character, and the existance of God were more frequently and successfully shopped around to film producers. I might have given this a "4" had Jordan found a way to better express Moore's mounting attraction for something other than her lover, as well as the events leading up to Bendrick's hatred and distrust of same. Still, a film that leaves so much, as well as the latter, to the imagination, is refreshing, as is its crediting viewers with imagination and intelligence.

The Beginning of Disappointment
As a big fan of Ralph, I was looking forward to The End of the Affair. Maybe my expectations were too high, but this movie is dreadful. Ralph is a brilliant actor, but not even his flawless acting can't compensate for the nonsensical plot and the horrific casting of Julianne Moore. What happened to Moore? It is NOT hard to learn a British accent. From the sounds of it, Moore didn't even try. She sounds so American she fails to convince anyone she has an ounce of English in her. And if that weren't bad enough, the plot is as unconvincing as Moore's accent. She's an adulteress, but miraculously heals a young boy's facial disfigurement and brings Ralph back from the dead. Even the priest admires her--adultery and all! Her husband does not know the meaning of jealously and lets Ralph live in the house even though he knows of the affair. Still amidst the unbelievable, the plot is so predicatable. She coughs a few times here and there. So we know (before anyone in the movie figures it out) that she's dying. We also know why she "ends" the affair long before its "revealed" to Ralph. And by the way, what was with all the nudity? Totally unnecessary and vulgar. ... Read more

Reviews (46)

A GREAT MOVIE
This is a brillient film with 2 great talents coming together to play the main characters. Actor Kevin Costner plays Frank Farmer, The Bodyguard & singer Whitney Housten,plays famous popstar Rachel Marron. She starts being pestered by an obsessive fan who has turned nasty and started sending threatening letters, so Frank farmer is employed to protect her, against her wishes. But she finds herself falling in love with him, & after a lot of nasty incidents is glad that he is there to look after her. Kevin Costner & Whitney Housten both play their parts very well, with great chemistry between them. There are great Whitney songs such as, her no. 1 single "I Will Always Love You" & "I Have Nothing" & "Queen Of The Night" There is also a good supporting cast. Its a film I have seen many times & never get tired of & I`m sure if you buy it you will feel the same. One of the best films of the 90`s.

The Ultimate Date Movie
Kevin Costner stars as a stoic ex-FBI agent who becomes the bodyguard for rock diva/good Mom Whitney Houston. He finds her lifestyle a bit much at first, but thanks to her cute son, he starts to like her (a definite no-no in the bodyguarding business). Someone is trying to kill her and there are very some intense moments as the stalker gets very close. But who hired the killer? That's the real question.

Whitney has a perfect voice and she sings many memorable songs. You'll rock to "Queen of the Night," and could there be a more bittersweet lovesong than "I Will Always Love You"? Their one romantic encounter is much too brief, but the chemistry is palpable. He's icy, she's hot; what a combination. Costner and Whitney are very sexy and also quite vulnerable. Credit goes to the excellent script as well as the stars' talent. This is a real chick flick: it's got romance, action, suspense, music, and a two gorgeous stars.

Outstanding
When this movie first came out the critics panned it mercilessly and frankly I just can't understand why. I thought it was fabulous. Kevin Costner plays an ex-Secret Service agent hired to protect a spoiled, difficult to get along with diva receiving death threats. Whitney Houston portrays the spoiled starlet to perfection. The chemistry and interplay between Houston and Costner was electric. The music in the movie was also great.

There are really some key elements that made this movie extremely good. First, I thought the acting was top notch by all involved. The supporting cast really played their characters well, as did the stars. Secondly, the editing was outstanding. The movie and plot move along at a fast pace. There is not a dull moment in the entire movie. And finally, the plot was plausible (for the most part) and the mystery - who is the hit man - slowly reveals itself. Having watched the movie several times, there a several foreshadowings.

Overall I found it a most entertaining movie both as a mystery, a thriller, and love story.

Are you sick
Its sad that a movie like this that contains no script or story plot is labeled a great movie and is given better reviews than Mariah Carey's Glitter which contained a story and plot.

Come on just think about it. I love Whitney as a singer though.

Visit my site: http://www.mjacksononline.tripod.com

LOVED IT!!
Kevin Costner is a FOX!!! I loved this movie..I bought the DVD since I had never seen it but liked Whitney Houston. I am now a fan of Kevin Costner!! I was so happy and in tears when she stepped off that plane in the end. I had to bust out my Whitney Greatest Hits CD! LOVED it!! ... Read more

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Yet another astonishing example of the daring and intelligence of Britishtelevision, A Very British Coup imagines what might have happenedif, during the latter days of the cold war, a left-wing prime minister hadlaunched reforms that seriously threatened the interests of theestablishment--including the United States. While the initial barrage ofpolitical details may confuse American viewers, the complexity soon clearsand this miniseries becomes a gripping, dazzling feast of governmentmachinations, media deviousness, and internal power struggles--leading upto murder, blackmail, and extortion. A Very British Coup cunninglydisplays the tooth and claw of real politics, how personality and policymeld into action and subterfuge. Ray McAnally is fascinating as PrimeMinister Harry Perkins, leading a fantastically skilled cast. This superbthriller is based on the book of the same name by Chris Mullin, a formerreporter who became himself a member of British Parliament. --BretFetzer ... Read more

Reviews (9)

"Yes, Minister" with Brass Knuckles
I ordered this based on raves I've heard elsewhere, and they were spot on. SOMEHOW, a Socialist takes over the Labour Party in England and manages to get elected. OK, so that's already highly unlikely, but if you let that go, you're in for a fantastic ride.

One sees how strings are pulled not only by established powers in England, but by Americans as well. While the body count isn't as high as the US' overthrow or Mossadeq in Iran in 1953 or Allende in Chile in 1973... or Diem in Vietnam in 1963... the overall threat to the PM's government is very real and very determined.

This series has important questions to ask about many aspects of power politics, and the questions apply to every government in the world. Who wields power behind the scenes? How is that power used and abused? Are nations such as England, Germany, and Japan effectively occupied nations that have grown accustomed to the presence of US troops there?

Could the scenario described in the series actually happen? Well, the PM of Australia stepped down in 1975 under heavy pressure from the US via the CIA and Australia's own pro-US president. You betcha this could happen.

Observing the development of events in Iraq in light of this series is very revealing: we can watch as powerful cliques maneuver to get position to control that nation for the foreseeable future. Question: what if the Iraqi PM decided to ask the US troops to leave on July 1? A very Iraqi coup?

I don't mean to pass judgment, but to ask the questions the series gave me. I despised the policies of PM Perkins, but I admired his brand of dirty pool. If you liked "Yes Minister" or "Yes, Prime Minister", you'll really go for this three-hour series.

By the way... when you get to the ending... ask yourself if that's really an ending. Hehehe... Very much like a Philip K. Dick sort of ending.

Glad To See It On DVD
This is a great movie, originally played in the US on PBS's "Masterpiece Theater" in the 1980's. It tells the story of Harry Perkins, a working-class politician and socialist, who is able to do the impossible and win a general election in Britain.

Once he meets with his ministers, he is determined to stick with his campaign promises (a novel idea!) and reform the country for the better. He wants to push the US military out of Britain, disarm the country's nuclear arsenal, and stop the IMF from holding the British economy hostage by using Soviet economic aid. He is also a true democrat -- trying to make the work of the government as transparent and accountable as possible, and making sure the public knows what's going on. This brings Perkins a great deal of popularity, to the detriment of his Tory (and moderate Labour) opponents.

But Perkins' Labour government is being undermined by the conservatives who run the media and government. There are many meetings in "smoke-filled rooms" by the media elite, who seem to closely mirror Rupert Murdoch (owner of Fox News and the New York Post). Even with help from the CIA, they initially can't find any dirt on the Prime Minister -- though Perkins' Foreign Minister is caught having an affair and forced to resign. Eventually, they find that the Prime Minister did have a brief affair in the 1970's, and they try to blackmail him into resigning. But there's a twist ending that I won't spoil in this review.

The main character in this film reminds one of "Red Ken" Livingstone, the maverick leftist mayor of London. Livingstone was purged from the Labour Party by Tony Blair in 2000, only to be reinstated, because Blair's popularity is plummeting and Livingstone's is soaring. Seeing "A Very British Coup" is very much like seeing a documentary of what a Ken Livingstone would have to do in order to maintain his integrity in power.

I highly recommend this film, and I'm very happy to finally see it out on DVD.

C'mon, people, get a grip here!
"A Very British Coup" is a fine example of a left-wing fantasy.

It reminds me of nothing so much as the documentary about Enver Hoxa's Albania that was broadcast by the Canadian Broadcasting Company in the late 1980s. The conclusion of the CBC piece was that the happy Albanians were delighted with their dignified and unspoiled lives, blessedly free from the follies of either West or East. Alas, the problem with the CBC documentary was that within a month of its airing the happy Albanians were busy beating their way past Italian border guards trying to prevent their mad dash toward Western follies and excesses.

And so it is here. In this piece a Labour Party PM achieves power, immediately begins to institute a socialist agenda, kicks the US military out of Britain, and is all the while supported by the limitless financial resources of the Soviet Union. (Score it 0 for prophecy!) The program also shows virtually every leader of the Conservative Party as a thug at heart and without qualms about conspiring against virtuous lefties, even unto assassination. But there is no need to fear, for we are shown that the Cons are all paper tigers who can be overcome with a wave of the Beloved Leader's Benevolent Hand.

Gimme a break! This is for (bitter) laughs only.

Dated Yet Timely
On first sight A Very British Coup seems impossibly old fashioned, dealing as it does with a left wing British Prime Minister who believes in public ownership, non alignment, and a non-nuclear strategy. He borrows money from the Soviet Union and tells the United States to take its bases out of Britain. As a result right wing elements in Britain, with ample assistance from the US government, do all they can to sabotage his government and force him out of power.

So why watch this now, more than ten years after the end of the Cold War, during a British Labour government that sometimes seems more Thatcherite than Maggie herself? Well, first its a dynamic political thriller with tension that lasts right up until the final, rather equivocal moments. Secondly, it asks some difficult questions about the nature of democracy and the relationship of power and privilege. Thirdly, I think for us American viewers it provides an eye-opening look at how the rest of the world sees us, and its not all that flattering. (Most of the American officials look like prize fighters and bully boys, which is what they turn out to be in the end. The Ugly American indeed!)

The DVD version doesn't have many extra features, just some filmographies of the principal stars and an audio interview with the author, Chris Mullin M.P. This seems to have been originally broadcast on radio and is rather scratchy, but you can hear Big Ben in the distance, which is a nice touch. So I recommend this DVD for political junkies, Anglophiles,and any Americans concerned about our international reputation.

Self-indulgent lefty excrement
Imagine if you will a world in which the public starves for more simple-minded leftist slogans, yearns for a "man of the people" to take power and rescue them from their troubles, while the devious right wing plans an elite coup against the noble lefty to prevent him from truly benefiting the nation.

If you still have your supper in you after that description, then this is the movie for you. It will flatter all your prejudices, lift up your pettiest bigotries to the status of virtue, and it will not once force you to swallow a hard truth. This is pablum, pure and simple, and if you like it because it strokes your political views then you have abandoned artistic aims for those of the lowest political propaganda.

For propaganda is what this is, without a shade of subtlety or nuance. Harry Perkins is a paragon throughout, a man so well-intentioned he seems to have been deposited on this planet something in the manner of Mr. Bean, although perhaps minus the pratfall. His enemies do not possess a shred of decency--well, what enemy of such a sterling leftist could?--etc. etc. etc. You can practically write this drivel in your sleep. For die-hards only. ... Read more

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One movie lover's nightmare is another's raucous joyride, and this special effects-laden horror comedy is bound to split both camps right down the middle. (Or, as Leonard Maltin's Movie & Video Guide puts it, "definitely not for all tastes but a wild time for those who get into it.")Michael J. Fox plays a psychic investigator who can actually see ghosts, and lives with a trio of undead spirits who scare people to promote Fox's ghost-busting business. In a town infamous for serial killings, a new series of deaths prompts Fox to induce his own out-of-body experience so he can battle death in a spirit-plagued netherworld where evil reigns supreme--or something like that. So much happens in this chaotic film that you might feel like you're watching several movies at once--a slasher pic, a supernatural thriller, and a black comedy all rolled into a nonstop showcase for grisly makeup and a dozen varieties of special effects. It's an odd but wildly inventive film from New Zealand director Peter Jackson, who earned critical acclaim for his previous film Heavenly Creatures and would later create the ingenious pseudo-documentary Forgotten Silver. --Jeff Shannon ... Read more

Reviews (93)

A wicked sense of humor
As a huge fan of the horror genre, it's my duty to loathe the injustice given to The Frighteners. It's astounding to see how little known and/or undervalued this awesome film is. I think what killed the movie was its timing. Michael J. Fox's career hadn't yet been revived by Spin City and insufficient marketing ( not to mention the fact that Robert Zemeckis plastered his name all over it!) resulted in the films poor box office performance and attack by critics. Perhaps it will attain some much-deserved popularity when Peter Jackson, he of Dead Alive fame, becomes king when Lord of the Rings (which I am 99.9% sure will rock) is finally released. The movie starts with "psychic investigator'' Frank Bannister (a scuzzier-than-usual Michael J. Fox) selling his services as ghost exterminator. It's a scam, though: Frank is in league with the ghosts (John Astin, Jim Fyfe and Chi McBride), whom he can see because of a past trauma -- a car accident five years earlier that killed his wife. When substantial numbers of people start dropping dead in town, only Frank sees that the culprit is a Grim Reaper-like spirit. The cops -- along with a bug-eyed FBI agent (Jeffrey Combs) -- think Frank's the killer. Frank's only ally is psychologist Lucy Lynskey (Trini Alvarado), whose husband (Peter Dobson) is among the recently deceased. Lucy uncovers a link between the current killings and a long-dead serial killer (Jake Busey), whose psycho girlfriend (Dee Wallace Stone) is still alive and rattling around in a spooky mansion.

It has to be said that Jeffrey Combs steals the show as Agent Dammers, the paranormal specialist who is himself far from normal. Sporting a Hitler hairstyle, Dammers provides comic relief/villainy and is laughably pathetic. The thing that stands out in the film is its evil sense of humor. After all, serial killing has never been so funny. Indeed, kudos to Jackson for the masterful handling of twisted horror and black comedy. The film also makes extensive use of computer graphics. Since the ghosts are some of the film's main characters, they became a focal point in the film's production, resulting in over 400 computer enhanced shots. Special makeup veteran Rick Baker was responsible for the interesting look of some of the complaining ghosts, ghosts who are slowly falling apart. Peter Jackson had set up his very own special effects company a few years ago, in order to be able to work completely detached from Hollywood in New Zealand. After upgrading the company substantially for this project, his effects unit was eventually able to handle all of the 570 effects shot of the film without having to use ILM -- Yeah! Universal released The Frighteners in its original theatrical 2.35:1 widescreen aspect ratio. The disc's anamorphic transfer is stunning and beautifully rendered. It creates a sharp image with a huge amount of detail. The film comes fully dubbed in English and French. It is also closed captioned and contains Spanish subtitles. So in the end, The Frighteners is easily one of those cases where any self-respecting horror fan has to say "screw the critics".

Wicked fun
Just before doing "Lord of the Rings," acclaimed director Peter Jackson (who can be seen in a cameo as "Man with Piercings") made an off-kilter horror/comedy movie called "Frighteners." Though "Frighteners" was barely in theaters, it's funny, creepy, well-acted and wonderfully directed.

Frank Bannister (Michael J. Fox) has seen spirits and apparitions ever since the traumatic car crash that killed his wife. Now he operates an amateur "ghostbusting" operation that is supposed to exorcise ghosts from people's houses -- the underbelly of his business is that the ghosts who haunt those houses are in league with him (Chi McBride as the extremely opinioated afro-ed Cyrus, Jim Fyfe as the nerdy Stuart, and most of John Astin as what is left of The Judge).

Frank's business certainly isn't hurt by the fact that for years after a serial killer's murderous spree, people have died mysteriously of heart attacks. Then Frank starts seeing fiery numbers emblazoned on the foreheads of people who later die, including the husband of doctor Lucy Lynskey (Trini Alvarado, who has an eerie resemblance to Andie MacDowell). As if trying to stop a specter of death weren't hard enough, crazed FBI agent Milton Dammers (Jeffrey Combs) believes that Frank is the one murdering people. And the evil specter is still killing -- and Lucy is the next victim.

Peter Jackson once said that he has a "moronic" sense of humor, and it shows up in all its glory here -- from bug spray dissolving a ghost's face to a piece of talking oily sludge to a drill sargeant ghost with submachine guns, this is weird and absolutely hilarious. But he's also good during the more serious moments, such as Bannister's flashbacks to his wife's death, or a psychopath stroking her ghostly lover's face. One of the most effective shots is of a pair of murderous lovers giggling, kissing, dancing and holding a shotgun; it's stuff like that that got Jackson "Lord of the Rings." The opening shot is pure Jackson, with the camera swooping through a window, past fluttering curtains, and though a hole in the attic floor to a screaming woman below.

Jackson also takes the opportunity to poke a bit of fun at more conventional ghost movies, with the big Gothic house, the ghost in '70s clothes, and Fox's hilarious turn as a ghostbuster. (One scene in particular seems to be spoofing "Ghostbusters") Big problem? Probably that would be that the opening scene doesn't seem to make much sense later on in the movie. But aside from that, there aren't many, especially since the conclusion makes a lot more logical sense than the average horror flick.

Michael J. Fox does an excellent job as Frank, giving the right combination of cockiness and pathos to a guy who isn't perfect, but is good at heart. Trini Alvarado is excellent as a smart, kind woman who is a bit on the gullible side, but definitely not a damsel-in-distress. (Nor is she eye-candy) McBride, Fyfe and Astin are great as the big annoyed guy, the nerd, and the dirty old cowboy. Jake Busey's freaky eyes and toothy grin are perfect for serial-killer Johnny Bartlett, and Dee Wallace-Stone embodies both cowering fear and freaky girlishness as his old girlfriend. And Jeffrey Combs is great as the twitchy, crazed FBI agent who will do anything to hunt down Frank.

"Frighteners" is a fantastic horror flick, with good acting and great direction. Don't walk, run to go pick this up and watch it. (And you will never see a bathroom mirror the same way again)

A very funny look at spirits and the afterworld!
I saw this movie in the theater years ago and I have always loved it! It is quite a thriller....fasten your seatbelt! I was laughing, crying, and screaming all at the same time. A must for any collection

A well thought out horror/comedy
This is one of those well done movies that balances several genres into a single story. On the one hand, you have Bannister's (Fox) tragic character who never fully got over the death of his wife. And his grief has made him pretty self destructive, so he's fallen from a successful and wealthy architect to a con-man living in his own, half-finished masterpiece. On the flipside of this are his partners in crime, the ghosts who scare Bannister's potential clients into hiring him in the first place. The humor gets pretty bizarre at times, but actually balances very well with the other story elements. Things go from grim, to funny, and back again just when they should. The third angle is the almost gothic and equally bizarre horror element to the story, where the ghost of a dead serial killer shows up as the bad guy. Bannister, the broken down wreck who can barely keep himself together is the only one who can see the killer. Yet even he's powerless to stop his enemy. Even worse, the wonderfully played FBI agent (Jeffrey Combs) has pegged Bannister as the "wacko" killer, though it's clear that the agent is the most deranged of all. Trini Alvarado does an excellent job as his potential love interest. She's a little naive, but strong willed.

If you like well thought out, thinking man's horror (instead of just the slash'em up variety) and have a dark (or even twisted) sense of humor, you'll like this movie.

Creepy Good Fun!
Frank Bannister (Michael J. Fox) had pretty much given up on life since his wife died in a freak car accident. He was an up and coming architect before the wreak, but ever since he watched his wife die before his eyes, whispers have followed him around town that he murdered her in cold blood. Frank's erratic behavior since the car accident don't help matters any and its not like most people believe that he can really see ghosts, even though he can. Something about being so close to death opened his eyes and Frank found himself a new line of work as a kind of ghost buster. Frank supposedly gets rid of poltergeists and haunting ghosts, but he really sends his three friends, The Judge (John Astin), the afro sporting, disco wearing Cyrus (Chi McBride) and the nerdy Stuart (Jim Fyfe), all of whom happen to be dead, into homes to terrorize innocent people until they pay his outrageous fees. Frank made a pretty good living from it, too, except people have starting dying from freak heart attacks all over town - and Frank can see numbers engraved in their foreheads. Numbers that show Frank who will be taken next...

As Frank struggles to save the people marked for death, he finds himself falling in love with Dr. Lucy Lynskey (Trini Alvarado), a very recent widow whose husband was killed by whatever thing is stalking the town. But Lucy has her own problems to deal with as she tries to help the reclusive Patricia Ann Bradley (Dee Wallace-Stone), who lives in an old Gothic mansion on the edge of town with her crazy mother (Julianna McCarthy). Lucy is convinced that Patricia is being abused and wants to help her, but she doesn't quite know how. What Frank and Lucy don't know is that all of their problems stem from one event - serial killer Johnny Bartlett's (Jake Busey) killing spree at a local mental hospital. It was never proved that Patricia was involved in the deaths of so many people, but it was never disproved either. She was Johnny's girlfriend and has never been what you would call normal. Johnny was caught, condemned and executed shortly after his killing spree, but his spirit has come back to haunt everyone and he was determined to kill more people than any other serial killer in American history...

The Frighteners was one of those rare movies that made you laugh as it scared the heck out of you. With great special effects and a wonderful score, you never know what may pop out at you and I found myself jumping often. The cast was marvelous with Michael J. Fox leading the way as a smarmy con-man who is out to make a quick buck. Amazingly, you find yourself really caring for him and rooting him on in his weird romance with Trini Alvardo (who could be Andie McDowell's twin, I swear), a sweet, but not shy woman who makes Michael's character work for her. The trio of ghosts were hilarious, as was FBI Agent Milton Dammers (Jeffrey Combs), who is convinced that Frank killed all of those people. Agent Dammers had some serious issues to work with, which made him relatively easy to manipulate, which was a joy to watch. Jake Busey and Dee Wallace-Stone were perfectly cast and really creeped me out. I could definitely believe that they were serial killers who were completely insane. Once again we see Peter Jackson's directing brilliance in this very entertaining film. As always, he has creative camera views, eye-popping effects and little surprises around every corner. Try it - you'll like it! ... Read more

Description

Ten of the world's greatest directors produce one unforgettable film in this sumptuous visual and musical feast based on the most famous arias in the history of opera. Erotic, violent, thought-provoking, funny, and moving, this critically-hailed milestone features the electrifyingly erotic film debut of Briget Fonda, a revealing appearance by supermodel Elizabeth Hurley (Austin Powers), and unforgettable performances from John Hurt (Harry Potter and the Sorcerer's Stone), Tilda Swinton (The Deep End), Beverly D'Angelo (Vacation), Theresa Russell (Wild Things), and many more! Segments directed by Robert Altman (Gosford Park), Bruce Beresford (Double Jeopardy), Bill Bryden, Jean-Luc Godard (Contempt), Derek Jarman (Edward II), Franc Roddam (Quadrophenia), Nicolas Roeg (Performance), Ken Russell (Tommy), Charles Sturridge (Longitude), Julien Temple (The Filth and the Fury). ... Read more

Reviews (10)

Liz Hurley's first important role in a movie
This movie provided Liz Hurley with her big break. Soon after this, Dennis Potter snapped her up for the lead role in the BBC adaptation of Christabel Bielenberg's 'The Past is Myself'. She became Hugh Grant's girlfriend and the rest is history. She transformed herself physically during her twenties, which is why some viewers have had problems identifying the occasionally nude actress that appears here as the very slim Liz Hurley they now know.

For me, 'Aria' was the classical music community's response to the rise of MTV and the pop video. Directors like Ken Russell and Nick Roeg wanted to show us that opera could be equally colourful and sexy, even if you couldn't dance to it. And they proved their case, to my mind.

But like a pop video, you wouldn't want to watch this too often. There's no substantive connection between each of the videos, so you end up feeling much the same as you would after a 90-minute immersion in MTV.

A Visual and audial smorgasbord
I have loved this movie for years. Granted, it may be for deep film buffs, but it is powerful.

Each vignette offers a top director's interpretation of a provocative aria. Opera lovers know how emotionally provocative the music can be; and that raw emotion is shown by each director.

The love story is one of the most romantic and tragic stories I have ever seen--the images are still in my mind 10 years after first seeing it. I had enjoyed a light introduction to opera before this movie, but after feeling the raw emotions this film created in me, I bought a few opera CDs based simply on first hearing the arias in this movie. There is even some VERY funny stuff is one scene.

So, in summary, the music, images, and emotions from this movies were all so intense, they've stayed with me for years. If you can take the intensity, do not miss out on this powerful movie that can be both sublime and intense at the same time.

The movie that started me on opera
I first saw Aria in the theater back in high school (about 3 million years ago) and only because I wanted to impress a girl way more artistic than myself.

It worked, but not in a way I'd expected. The movie, a series of vignettes, runs the whole emotional spectrum. In my younger days, we were blown away by the Wagner/Roddam piece starring a young Fonda, so loving and jarring at the same time. These days I find all the music beautiful, but one or two of the vignettes boring. The entire movie is beautifully shot and all deserves to be watched at least once.

After having done that you'll find continual enjoyment watching Sturridge, Beresford, Roddam, Jarman, and Bryden's interpretations.

Who knows, you might fall in love with opera too.

Great the first time, tends average, not for everyone
This movie was great the first time, on the big screen. The music and the images shock you, and make you squirm and react to this movie. It's an artistic roller coaster ride.

I've found since, however, that this shocking quality doesn't preserve especially well. My favorite way of watching this movie these days, is to turn the music on, while I'm doing stuff around the house, occassionally looking at the images.

It's artistry, it doesn't hold up under critical thinking.

Who will like this movie? Despite (or perhaps because of) the billing of mature content, I think that this is a good film for teenage viewers with a liking for art films. One must be able to appreciate both the variety and intensity of the images, and be able to forgive the story. Not a problem in an action movie, but for an "art film", it shows it's high concept roots.

Maybe a gift for an opera lover, or an "art film" buff.

A Most Incredible Experience
Aria is 90 minutes of pure wonderment -- I'm not certain what demographic this project was aimed at, but I definitely fall into it. You have to love opera style music yet not be so attached to the operas themselves that the re-presentation of the music offends. You have to enjoy video that your average couch potato won't get, no matter how many mind altering drugs he takes.

To really enjoy Aria, you have to check your expectations at the door and accept it for what it is -- a set of brilliant visual explorations fueled by some of the most incredible music ever written. With any other attitude, you're far more likely to find this a miserable experience. Too vulgar, too highbrow, too bizarre, too surreal, too whatever.

Some pieces tell a solid story, ranging from humorous to tragic. Others lack story line and speak to a different level of consciousness. Pathos. Humor. Death. Life. Celebration. Brilliance. Aria cleanses windows of perception, like a good wine between courses of a meal. On the other hand, it's a main course, in and of itself.

This is not fodder for young children, and most teens won't have the patience for it either. If you thought "Dude, Where's My Car?" was a brilliant movie, perhaps you'd better pass on this one as well. I only wish that more Wagner had been included ... perhaps an Aria II consisting solely of Wagner arias?

(If you'd like to discuss this movie or review in more depth, click on the "about me" link above and drop me an email. Thanks!) ... Read more

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

Description

H.G. Wells' fantastic account of life on the moon is vividly brought to the screen by special effects master Ray Harryhausen in this amazing sci-fi epic featuring unforgettable extra-terrestrial creatures.The film begins with a team of United Nations astronauts planning an upcoming moon mission.The astronauts are both confused and intrigued by a man (Judd) who claims he, his fiancee and a scientist journeyed to the moon 65 years ago and were attacked by "Selenites," grotesque, human-like ant forms that live in immense crystal caverns. Now it is up to the U.N. team to attempt a lunar landing that could be more horrifying than ever believed possible. ... Read more

Reviews (23)

Long time favorite finally on DVD!
For many years, this hard-to-come-by gem was only available in crummy full-screen video transfers or chopped up Saturday movie-of-the-week presentations. What a joy to see this film on DVD, in all of it's widescreen and "Lunacolor" splendor! The transfer is really spectactular.

In fact, everything is very well done (dare I say, "Imperial!"). Lionel Jeffries steals the show as the befuddled scientist Cavor, although we all know that Ray Harryhausen's effects are the real star of the picture. I love the Victorian moonship (S.S. Dolphin), and the pointy yellow Moon mountains, which are pure 1950's. The Moon creatures are surprisingly well-handled also, and for the most part, the picture more or less follows the book.

Fans of the 70's British sci-fi television classic "Space: 1999" will instantly recognize the "creaky door" sound effect that plays when the Moon assistants are "frozen" until needed. The irony here is that the TV series takes place... on the Moon!

The disc has two main extra bonus features; a promotional short for Harryhausen's "Dynamation" technique, and an hour-long documentary on Harryhausen's life and career. The documentary, narrated by Leonard Nimoy, has been featured on the American Movie Classics "Real to Reel" series, and is very, very well made. The Master is extensively interviewed, and many of his models displayed during the interviews. He discusses behind-the-scenes moments, how certain models were made, his signature "skeleton warriors", and other insightful and informative things. This bonus is a real prize for Harryhausen fans (which is all of us, I think).

Now, I am not the world's biggest fan of Tom Hanks, but included here is a clip with one of the best Oscar night lines ever, this one from the 1992 Oscar Ceremonies when Harryhausen was given his lifetime achievement award. Said Hanks after the award was given, "Some people say 'Casablanca', or 'Citizen Kane'. I say 'Jason and the Argonauts' is the greatest film ever made!"

I can't really agree, but I loved the sentiment.

This is a very nice disc, with a classic sci-fi thriller and excellent bonus matierials, so buy it and don't delay. If you've never seen "First Men in the Moon", I envy you; you're in for a real treat!

Moon Bugs Attack!
Well made SciFi with Ray Harryhausen effects make an enchanting classic movie. No modern F/X here but still fun to watch as a Professor and a young man and lady explore the moon during the late 1800s. The story starts out with one of them as a very old person recalling the events to a group of people as they watch the first documented landing on the moon.

The DVD color and sound are great. This DVD includes a Documentary on Ray Harryhausen that is very well done. Great entertainment for the whole family.

Wells would be proud!
For some reason films with Harryhausen's effects are remembered more for them than they are for the director that helmed them. This adaptation of the Wells novel, directed by Nathan Juran (who had also helmed "The Seventh Voyage of Sinbad") is "lighter" than others of Harryhausen's works in that it relies more on the wonder of space exploration and "what might lurk beyond" than it does monsters and other creations of the imagination. Granted, there are some notable wizardries (the "moon calf" and the Selenites, especially the ruler), but the film benefits from performances by the three principle actors: Lionel Jeffries as the absent-minded "Mr. Cavor", inventor of a solution that enables the trek to the moon, Edward Judd as a penniless playwright that sees the journey as a means to a prosperous future, and Martha Hyer as Judd's fiance' "Kate". The actors make the unbelievable quite believable.

Wonderful set pieces, from an English cottage/laboratory to the eerie yet picturesque moon caverns, are just the right touch for this science fiction fantasy.

Laurie Johnson's score runs the gamut from whimsical (Mr. Cavor's theme) to romantic (the theme for the lovers) to thrilling (the scenes on the moon, especially the confrontation between Mr. Cavor and the Selenite ruler).

Harryhausen has influenced an entire generation of filmmakers and "First Men in the Moon" is a prime example of his greatness.

Delightful sci-fi adventure
I was mesmerized by Nathan Juran's science-fiction classic as a child, and have waited years for the opportunity to see it again. When I finally got my hands on the DVD, I was not disappointed. This adventure-filled tale has worn well, and even the dated elements nevertheless retain their charm.

Where to begin spelling out the treasures First Men in the Moon holds? Lionel Jeffries's endearingly eccentric professor? Ray Harryhausen's distinctive animated creations? Laurie Johnson's atmospheric score? Nigel Kneale's witty screenplay? Magnificent, all.

The DVD picture-quality is excellent. For fans of SFX artist Ray Harryhausen there are a couple of nice featurettes, even if the photo gallery is a tad lacklustre.

Classic Old Sci-Fi!
I first saw this movie on television sometime around 1965-66, when I was about 10 or 11 years old, and it just made my imagination soar back then. I rank it up there with "The Day The Earth Stood Still", "The Angry Red Planet", and "War of The Worlds" movies. All greats, which I also own! Being on DVD just makes it that much better. While admittedly it doesn't compare to todays special effects, it was really good stuff back then. For those of us whose saw and enjoyed it in our youth, it's very nostalgic. If your an old classic Sci-Fi enthusist, such as I, by all means get it. You won't regret it. ... Read more

Amazon.com

This complex and intriguing drama chronicles--with some probable narrative liberties--the chain of events that instigated the provocative Profumo affair, the infamous cold war scandal that toppled Britain's conservative government in the early 1960s. John Hurt stars as charming osteopath Stephen Ward, who grooms a malleable and beautiful teen showgirl, Christine Keeler (Joanne Whalley-Kilmer), to party with his swinging high-society friends. Trouble starts brewing when Christine becomes simultaneously entangled with both a Russian diplomat and a British cabinet minister. Once the media learn of her sexual escapades, the reigning Conservative Party comes under fire and begins seeking a scapegoat to distract the public from the dangerous political implications that the affairs represent. Under Michael Caton-Jones's confident direction, the film generates sympathy for its decadent lead characters, and it intelligently explores how private personal matters become vulgar public affairs when political machinations intrude. The most intriguing aspect of Scandal is the platonic love affair between Keeler and Ward amid the trials and tribulations of their stormy relationship--think of it as a twisted variation on My Fair Lady. The fine cast also includes Ian McKellan as John Profumo and Bridget Fonda as Christine's partner-in-fun Mandy Rice-Davies. The uncut DVD version features a little more skin than the R-rated release, although viewers will probably wonder why those few extra shots caused such a stir. --Bryan Reesman ... Read more

Reviews (11)

"I could do wonders with you--could shock the world."
The film, "Scandal" is based on the true story of the Profumo affair. John Profumo was the Secretary of State for War in the early 60s when he met teenaged Christine Keeler through a London osteopath, Dr Stephen Ward. Profumo and Keeler had an affair, and the ensuing scandal, which erupted a few years later, caused Profumo (after many strenous denials) to eventually resign. The Profumo affair was a notorious event in the 60s and remains a blight on the history of British politics. The film "Scandal" is the story of the affair between Profumo and Keeler, but the focus is on the relationship between Dr Ward and Christine Keeler.

Christine Keeler (played by Joanne Whalley) was only 16 years old when she met Ward (John Hurt). She was working in a burlesque show in London. Ward--who is clearly a hedonist--is immediately struck by Christine and says she "moves like a racehorse." Ward, a bachelor, seeks out Christine and begins to cultivate their relationship. While visiting a cottage on Lord Astor's Clivedon estate (pronounced 'clifton'), Christine meets Profumo--and also an man who was allegedly a Russian spy.

The film's focus on the relationship between Ward and Keeler was sheer artistic brilliance on the part of the director, Michael Caton-Jones. It would have been all too easy and sensationalistic to emphasize the Profumo-Keeler connection--with all the necessary sleazy connotations, but instead Caton-Jones chose to focus on the mystery of Ward and Keeler. A beautiful, poignant film is produced as a result. There are a few orgy scenes in the film, but they are relatively tame. These events took place in the 60s, and the story does concern individuals who were engaged in some rather unsavoury, sexually unacceptable behaviour, but the film certainly doesn't titillate or linger on the fouler aspects of the subject.

Joanne Whalley as Christine Keeler does an amazing job. She looks incredibly like Keeler, and if you don't know what Keeler looked like in the 60s, do a search on the internet, and you'll see what I mean. The photograph of Whalley on cover of the DVD box is an exact replica of a photograph of Keeler. Whalley plays Christine Keeler with just the right combination of the contrasting characteristics of toughness, fragility, confusion, and confidence. John Hurt as the intelligent and fascinating Stephen Ward remains a cipher. John Hurt is a marvellous actor, and he plays his role here with worldliness, good humour, and a certain naked hope of belonging to the upper classes--in whatever capacity is necessary. Ian McKellen--another great actor, plays Profumo with the perfect amount of ridigity and stuffiness, and he is very believable as the politician who is at first very proud of himself for bedding Christine, but then denies the evidence against himself until he can no longer do so. Bridget Fonda plays Mandy Rice-Davies, the resilient, rather naughty friend of both Keeler and Ward. Her somewhat brazen enjoyment of the court proceedings is in direct contrast to Christine's horror at the witch hunt against Ward. This film dissects several aspects of human nature and social behaviour--greed, ambition, class, lust, power, wealth, ego, and reputation. I love this film. I am fascinated by the relationship between Keeler and Ward as it defies all definitions and was based on factors that cannot easily be deciphered--displacedhuman.

A "Scandal" to miss this one.
Based on a true event of 1963, the "Profumo" affair scandal is one the classic sex scandals of British political history, of which, as you would know, there are many.

The story is one of great intrigue showing how one man's weakness and lust for the seedier side of the fairer sex, and another man's weakness, his desire to mix with the higher echelons of society, embroils them both into a downward spiral of self destruction, which in itself is indeed quite a story. But when it also compromises and in fact instigates the downfall of an entire government, and a British CONSERVATIVE Government at that; now add to it a complex web of vices including sex, drugs, alcohol, debauchery, infidelity, betrayal and treason! well you have the makings of a simply excellent movie. John Hurt's acting as "scapegoat" Dr. Stephen Ward is first class, as are the roles of Ian Mckellan as the ill-fated John Profumo and Leslie Phillips as the aloof Lord Astor. Joanne Whalley-Kilmer, Bridget Fonda, Britt Ekland give superb performances depicting precisely the trends and fashions of England's mid 60s. The theme music "Scandal", sung by the timlessly talented Dusty Springfield, was released as a single and made the charts without hesitation.

Add to the story a high ranking Russian, a snipit of the "highly respected" British Aristocracy, some excellent shots of London life and a stately mansion deep in England's green and pleasant land, and you have a highly entertaining, "no holds barred" account of a real piece of British political history, the kind that britons would rather you didn't know about!

It's been more years than I care to remember since I went to the "flicks" to see this movie, I truly can not wait to put this video into my machine, get a couple of cans, get my feet up and enjoy it all over again. Buy it! you won't be disappointed.

DVD version not as advertised
My comments are not aimed at the merits of this fine film but at the recent DVD release by Anchor Bay. The cover boasts that the version it contains is "uncut & uncensored"; however, that claim is false. Inexplicably missing is the entire "nightgown" scene with Bridget Fonda, which should appear just after the orgy. I'm pretty sure that this scene appears in every other version of the movie. I'm almost certain it was in the R-rated general release, I know it is in the "uncut" VHS tape, and part of it even appears in the broadcast televsion version. In fact, watching the censored TV cut of that segment on BBC America a month or so ago is what inspired me to order the DVD in the first place. Now I just feel ripped off. This is not the first time I've purchased DVDs that were missing key scenes, but this instance was particularly galling.

Skinemax for the Pinky's-Up Crowd
If you want to sell softcore porn to a "sophisticated" audience, including button-down critics, what do you do? Why, class up the joint by sticking a bunch of stage actors in tuxedos and evening gowns and making them talk in those nasally, affected British accents, of course. Oh, and it'll help if you base the story on a true event and tell it in an ironic, tragic sort of way. That's about what "Scandal" does, though not with particular style or grist. Purporting to delve into the so-called Profumo Affair in the 1950s that led to mayhem for the British government, it's more about skin than politics, titillation than character. Joanne Whalley stars as a cat-faced party girl and professional homewrecker, not above any kink or good time with her crowd of over-the-hill frat boys (including Sir Ian McKellan, looking rather ridiculous with a partially shaved head, and a kooky John Hurt). She cruises the fast-track to success by bedding every London politico in sight until predictably, inevitably, things go wrong. It isn't that "Scandal" doesn't at times grab the viewer's attention; it's that it uses exactly the same T & A as the cheapest of cable TV softcore to do so. The stuff in between seems just a sham to add the faintest air of respectability to it all . . . just like the cheapest of cable TV softcore. Controversial when it was made in the late 1980s--(Gasp!) this white vixen even sleeps with black men!--the film's sexuality will seem somewhat quaint today. If you want to see reasonably attractive people get naked or pretend to have a threesome, then "Scandal" is for you. If you want something more, keep looking.

underappreciated tearjerker!
I wish they would reissue this video so I could have it for my library. Last time I watched it, I was moved to tears by the suicide of Ian McKellen's character. The aftermath of the Profumo affair illustrates how foolish and sad prostitution laws really are. It was these laws, in large part, which Steven Ward was so humiliated by -- and the movie gives a human face to that fact. The girls in question were labelled call girls but they were more like party girls -- and yet, when the powers that be conspired to find their scapegoat, they were able to portray these amateurs as prostitutes, for the purposes of humiliating Steven Ward publicly. This isn't adequately explained by the movie but then, it's entertainment, not a documentary. ... Read more

Reviews (49)

Very Good Movie.
The 7th Voyage of Sinbad was a first for Ray Harryhausen in a couple of ways. It was the first movie that he did which was shot in color. He showed that his stop motion effects worked very well in color, and it was the first movie that Ray did where Bernard Herrman scored the music. This movie started as a series of drawings that Ray made around 1949/1950. It was shopped at to various movie studios over the years before Colombia Pictures gave him the green light to go ahead with production. The whole movie in terms of the mainline shoot was done in Spain. An American production done with a Spainih film crew who were pretty good with all aspects of the shoot. From art direction to costume design. They did a pretty good job with making it look like it took place in a remote anicent time. The casting was also very good, mostly with Kerwin Matthews who was very good at facial expressions and made it look like he really was seeing fantastic monsters appear before him. Together with the music and Ray's stop motion effects, this remains as good a movie today as it was when first released in 1957.

Fine fantasy film one of the best Sinbad adventures as well.
After a couple of classic fantasy films (20 Million Miles to Earth) and a couple of duds (It Came from Beneath the Sea), Harryhausen found his niche. His best films were related to mythology and fantasy adventures. Jason and the Argonauts still stands as Harryhausen's best feature but 7th Voyage has a charm all its own. What it lacks in sharp, crisp direction it more than makes up for in swashbuckling fun.

Kerwin Mathews plays Sinbad a bit stiffly but does have the atheleticism necessary for the role. While John Philip Law (who plays Sinbad in Golden Voyage) is a better actor he fails to capture the swagger of Sinbad. Matthews vividly brings Sinbad to life despite his limitations as an actor.

Torin Thatcher chews up the scenery as if to make up for the shortcomings of some of the actors. He is the perfect over the top villian for this piece.

The special effects are still powerful and the print used here is one of the best I've seen. The extras are really nice particularly the interview with Harryhausen by John Landis. The interactive menu is easy to use and the inclusion of a number of trailers reminded me how the art of creating trailers has changed over the years.

It was also nice to see Matthews interviewed about the film in the supplementary section. All in all this is a terrific fantasy film that combines great optical effects, animation and colorful performances to create a great version of the 1001 Nights fantasy tale. Highly recommended.

AND HARRYHAUSEN CREATED...
I am an artist/writer and there was a time when I would not have been able to imagine my being such a thing. My unexpected encounter with the art of Ray Harryhausen played a considerable part in my moving in that direction and it is really remarkable what a great effect it had on my entire life.
I was a 7, almost 8, year old poor boy whose heroes were Mickey Mantle and Elvis Presley, when I first saw this amazing film at a small local theater for 25 cents! (I am not joking. I was part of a white minority living in a mostly Hispanic and Black low income neighborhood where Frosty Malts were 15 cents, a Big Hunk was a nickel, movie posters were hypnotizing, and the local theater smelled like old tennis shoes. I mention this only to give a glimpse of the setting in which the miracle occurred.)
This first viewing of the film impacted me so deeply, so forcefully, that to this day some 46 years later, my strong memory of its phenomenal colors, forms, and sounds even includes intense particular memories of the dark, shabby, musty little theater interior itself on that very day. Sometimes memories are so powerful they become symbolic for us. This is one of those.
I was very far from being an egghead type of kid, but I had considerable powers of concentration, focus, and retaining when something really interested me and from the moment I saw the poster behind the glass advertizing the 'coming attraction' called THE 7th VOYAGE OF SINBAD, I was ready to give it my all. And when that seemingly fated afternoon came, I did so. I took in everything, I listened very carefully to the dialogue, I watched every little movement on that big screen that was so amazing in a neighborhood where many people did not even have a television. Within the first ten minutes of the film I was deeply in love with it and by the time it was over I was madly in love with it. I could think only of seeing it again... and again... It had succeeded in drawing me into its timeless circle of fantasy. With a single viewing I had memorized the entire story line and when I saw the film again ( I begged my mother for the quarter) it was like entering a realm where, though everything was wondrous and new, it was really where I had always lived. And still do. Though in certain ways I understand it better now than I did then, it remains a place where truth is inseparable from wonder and mystery.
For my actual review of the film, I am going to focus only on its first ten minutes (from the opening darkling shot of Sinbad at the helm to the crew's escape from the enraged Cyclops back to the ship). I will explain why it so captured me as a boy and why I think it is the most powerful opening ten minutes to ever come out of TinselTown .
First of all, it must be understood that all the things that keep a popular film such as this from being categorized as 'high art' of course meant nothing to me then and honestly mean nothing to me now because Harryhausen's genius transcends them all.
FIRST, Sinbad's intense calm at the helm and his ability to see land through the seemingly impenetrable, surrounding blue-black darkness that served as a symbol of the crew's lost condition told me immediately that he was a hero.
THEN the anxiety of the hungry crew that they might actually find something terrible on the land assured me that they would indeed find something terrible and that Sinbad was ready to face it.
So the question was: When it appeared, how exciting and how good would it be, this terrible thing?
Well, when the Cyclops emerged from the cave I entered a new world and had a new hero named Ray Harryhausen.
In generations to come, art-lovers will laugh that anyone actually ever thought that CGI animation was even in the same league with the art of Harryhausen.

A grand fantasy adventure
One of the most entertaining films of the 1950s is this entry of Sinbad's voyage to the mysterious island of Colossa to retrieve a magic lamp coveted by an evil sorcerer. The story has elements of Greek mythology, with its reference to the Isle of Sirens, and the very real danger of the cyclops that inhabit the forbidden island and from whom Sinbad and his crew must wrest the magic lamp. Kerwin Mathews is believable as Sinbad, the handsome and sincere hero who is maneuvered into undertaking the perilous journey by the wily Sokurah, the magician who will stop at nothing to possess the magic lamp. The film has many exciting scenes but perhaps the highlight is the thrilling swordfight between Sinbad and the skeleton in Sokurah's cave as the mad magician has summoned the skeleton to destroy Sinbad in order to seize the lamp. The movie has brilliant Technicolor lensing, a pulsating music score by Bernard Herrmann and terrific special effects by Ray Harryhausen.

superb classic adventure film for all ages
If you love classic films and you love special effects, then you are undoubtedly passionate about the films of legendary Ray Harryhausen, and this is one of his best. In this movie, Harryhausen uses his stop-motion technique in color for the first time (and the print here is terrific) to tell the tale of Sinbad (Kerwin Mathews) as he sails the seas, forms an uneasy alliance with an evil magician (Torin Thatcher) and battles a Cyclops, a two-headed Roc and a dragon. Other memorable effects include the genie Berani and the interior of his magic lamp, the Princess Parisa being shrunk and the servant woman who is turned into a dancing half-woman, half-snake. The action starts right away and continues throughout the film, and Bernard Herrmann's music is, as always, absolutely perfect.

DVD extras are excellent, and include: a picture of the original poster; trailers from other Harryhausen features; two interview featurettes, each 12 minutes long; a 3-minute featurette about the Dynamation process; and a one-hour feature about Ray Harryhausen. This is a great package -- and for you enthusiastic polyglots out there, the film can be heard in English, Spanish or Portuguese, while subtitles are available in English, Spanish, Portuguese, Chinese, Korean or Thai!

Having small children who are becoming interested in "scary movies", I've found that the Harryhausen ouevre is a great way for them to find thrills and chills without gore, and a wonderful way for me to reconnect with my childhood joys as well. The whole family has a great time watching these terrific films. I'm really glad they're being re-released in such high quality and with such interesting dvd extras.

Superb! ... Read more

Reviews (13)

Extraordinary, complex, deeply-felt
In Sebastiane (1976), British writer/directors Derek Jarman (this was his first feature) and Paul Humfress created a remarkable historical film and a landmark of gay cinema. It depicts the martyred fourth century Roman soldier, who was later both canonized as Saint Sebastian and revered as an enduring gay icon. The film strikingly balances a cinéma vérité depiction of the everyday life of common soldiers and a visionary exploration of one man's defiant growth in faith, even as it subtly questions the nature of that experience. Despite its microscopic budget, it is a remarkably well designed, shot, edited, scored (Brian Eno's first film music), and acted picture. The Kino DVD transfer is very good, especially considering that the picture was originally shot in 16mm, then blown up to 35mm.

The film takes some liberties with the historical/legendary Sebastian, who was never exiled to a remote outpost, and incredibly who was supposed not to have died from the arrows with which he was famously shot - how Emperor Diocletian ordered him killed, and how the film ends - but rather from a second execution when he was clubbed to death. Although the film works brilliantly on many levels - cinematic, psychological, spiritual, aesthetic, even political - what may strike you first is the vividness and authenticity of the ancient world it depicts. Despite an over-the-top prologue at the glitteringly decadent court of Diocletian, and its strategic use of famous Renaissance paintings of St. Sebastian (by Mantegna, Reni, etc.) in the final scene, this film feels like lived experience.

Shot on location in Sardinia, every well-worn costume and dusty prop seems genuine. The dialogue is in the rough "street Latin" of its day (with English subtitles), but rather than feeling gimmicky it helps capture the texture of these nine banished soldiers' daily life. Its realism is in striking contrast to big-budget "sword and sandal" epics, from the Silent Era to the recent Gladiator, which always look too manufactured. In fact, its stylistic roots are more in the hyper-real mythic films of Pasolini, like Oedipus Rex and Medea.

From stills, you might think that the cast was chosen for their sculpted bodies. But each of these actors, even those in supporting roles, fully inhabits their characters and brings them to life. In particular, Leonardo Treviglio (seen most recently in Julie Taymor's film Titus) gives an intensely restrained, brilliantly nuanced performance in the title role. The constant ribbing and roughhousing among these nine men provides not only verisimilitude, but energy and unpretentiousness.

That is especially important, because the film deals with some dauntingly complex themes, as important now as 1,700 years ago, including the meaning of spirituality, the place of sexuality in life, and the contradictory nature of reality. The film's wild streak of humor, and its breathtaking visual design, help to keep this profoundly serious work from overdosing on "heaviosity."

The thematic core, as expected in a work about a man on the road to sainthood, is spirituality; and few films, including self-styled "religious movies," let one feel so deeply the growing importance of faith to an individual. Even some of the translated dialogue is beautiful, as when Sebastian, gazing at his and the sky's reflection in a pool of water, says that divinity is "That beauty that made all colors different.... The heavens and earth are united in gold." But while that vision of faith is powerful, it also has many layers, some of which are provocatively ambiguous. For some viewers, a central question will be: Is Sebastian a true Christian or is he a syncretist grafting his personal version of the new religion onto much older, Greco-Roman roots? The film offers different possible answers, not as a dodge, but because the film realizes how multi-faceted religious experience is, growing out of social, personal, and spiritual contexts.

It is also a landmark in the history of gay-themed films. Not only is this an authentic-seeming depiction of the ancient world, it is one in which a person's sexual orientation is not at all an issue. The guys jibe each other equally about their interest in Vestal Virgins, famous female prostitutes, and other men. In addition to this still-refreshing "backgrounding" of sexual orientation, the film depicts some of the most genuinely sweet and loving moments of any gay-themed film up to that time, especially in the budding relationship of the minor characters Adrian (whom the men tease about being a virgin) and Anthony.

And Sebastian's sadistically lovelorn nemesis, Captain Severus, is much more than a traditional "homosexual heavy," like the diabolical Claggart in Billy Budd. Severus (played by Barney James) has psychological depth, and seems to be equally divided between raw lust and genuine love for Sebastian. The film also takes a complex approach to him. For instance, the most visually beautiful and tender images of men are entirely from Severus's POV. And during the pivotal seduction scene near the end, Severus is shown as both monstrously brutal and beautiful, his hair ringed with golden light. That is exactly how Sebastian describes his vision of God, earlier in the film.

This is an exceptional film, deeply-felt, beautiful, and complex.

An early Jarman film
With this DVD, KINO presents Derek Jarman's debut feature loosely based on the story of Sebastiane, son of a wealthy Roman family during the days of emperor Diocletian. However, those expecting a historical story of Christian faith should better look elsewhere. Recommented for Jarman completists (an early indication of the filmmaker's later work) but virtually no one else with serious interest in film.

Sebastiane converted to Christianity early on and even as commander of the Praetorian Guard and a personal favorite of the emperor, he did not hide his beliefs, actively renouncing persecutions of Christians, helping prisoners and proselytizing Romans to Christianity. This led Diocletian to order his execution. Roman soldiers shot him with arrows but he survived. A second execution was arranged and he was clubbed to death(288 AD).

However, viewing this film with the expectation of seeing a historical epic or a story of martyrdom, will inevitably lead to desappointment. Historical facts are only a backdrop, serving the filmmakers' intention of presenting the other well known aspect of Sebastiane's claim to fame: his link to homoeroticism and sadomasochism. How this relation came about historically is unclear. Some stories have it that Sebastiane was homosexual himself. Others that he had to refuse the emperor's advances on the grounds of his Christian faith. Whatever the case, it is most likely his repeated depiction in painting ( Procaccini, Pollaiulo, Botticelli, Reni, Bazzi etc) scantily clad and pierced with arows reinforced the associations. In Jarman's film, the Christinity angle seems more of an afterthought, an excuse to add some pretentious sounding monologues that set Sebastiane apart from those around him. The film's opening scene introduces the depravity and decadence of Roman life. In a scene that clearly points the artistic tendencies Jarman's carreer would later