Reviews (125)

Three-Dimensional Menace
It is as difficult to describe this film as it is to forget it. The only film directed by Charles Laughton, with James Agee's screenplay based on Davis Grubb's novel of the same title, The Night of the Hunter explores the ageless conflict between pure goodness and pure evil. The former is represented by the two Harper children and especially by their resolute defender, Rachel Cooper (Lillian Gish). Pure evil is represented by Harry Powell (Robert Mitchum), a psychopath who claims to be a preacher. I can think of few other films in which script, direction, acting, cinematography (Stanley Cortez), and musical score (Walter Schumann) work so well together. Credit must obviously be shared. What saddens me is the fact that Laughton was so discouraged by initial reactions to the film that he never directed another. The plot is rather straight-forward and consists of three phases: Powell's arrival and subsequent marriage to widow Willa Harper (Shelley Winters); her death and the gradual revelation of Powell's true nature; and finally, his pursuit of Rachel Cooper and the two children after they flee from him. It would be a disservice to those who read this brief commentary for me to say any more about the plot.

Paradoxically, this is among the most beautiful and most frightening of films. Mitchum's portrayal is among his greatest performances. According to some who were associated with the production, he also agreed to direct Billy Chapin and Sally Jane Cooper because Laughton despised child actors. If true, Mitchum reveals an off-screen talent I wish he had developed further. For me, the only problematic performance is Gish's. Perhaps it is because it seems (to me) derivative of an acting style more appropriate to a previous era when she was featured in so many other films. Those who have not as yet seen this film are urged to do so. It is in so many ways an "original" which deserves the acclaim denied it when first released in 1955.

Deserves to be ranked with "Citizen Kane."
Charles Laughton, one of the greatest actors of Hollywood's Golden Age, made his directorial debut at age 56 with "Night of the Hunter." The film flopped so badly with critics and public that Laughton was never allowed to direct a movie again. It's hard to tell which is worse: the tragedy for the cinema, or the idiocy of the critics and the public. "Night of the Hunter" deserves to be ranked with "Citizen Kane" and the works of Pabst and Murnau among the great Expressionist film masterpieces. Its artiness probably meant it would never be a great popular success, but it deserves to be more than a cult favorite. Its combination of stark realism and extreme stylization, of magical beauty and Hitchcockian suspense, has never been replicated in any other movie. The performances are all superb and, in the cases of Robert Mitchum and Lillian Gish, extraordinary. Mitchum pushes the envelope just enough as the evil preacher Harry Powell, giving a performance that might seem way over the top if a scene were taken out of context, but which masterfully evokes diabolical menace as a whole. As for Gish, she creates an unforgettable character in Rachel Cooper, whose prim, strict exterior barely conceals a combination of wisdom, backbone and moral splendor rarely found in the cinema. Shelley Winters is also very fine as a woman blinded by desire and guilt. Too little, I think, has been said of the supporting players in "Night of the Hunter." Billy Chapin is very touching as the little boy Powell menaces, but the standouts have to be Don Beddoe and Evelyn Varden as Walt and Icey Spoon, a sort of Richard and Hyacinth Bucket gone to seed. Icey is all idiot compliance with the loathsome Powell, taking his protestations of piety at face value while imagining herself the arbiter of morality and common sense. Walt, her henpecked husband, occasionally voices doubts but is quickly brought into line. So when Powell is revealed as the murderous monster he is, who leads the lynch mob? Why, Walt and Icey, of course! There are hundreds and hundreds of Walts and Iceys in small-town America. I know that firsthand.

Surreal Mitchum
I've always been a fan of Robert Mitchum's stoic style. But he's anything but stoic in this very unique film. The atmosphere created by Laughton's direction - and apparently his rewriting of the script - is as surreal as it gets. Once you realize you're watching an adult fairy tale about good and evil, you'll be mesmerized. This film is one artist's only offering, and worth the time to watch.

Sappy & crappy.
I adore Robert Mitchum and I do not disagree with much that has been written here, but the religion was laid on with a trowel. So hokey. So corny. The angelic voices, the hymns...Lillian Gish looking up to heaven...please! What I thought would be film noir turned out more like a rally for George Bush Jr.!

"I'm out of patience children. I'm coming to find you now."
Charles Laughton's "The Night of the Hunter" is one of the most notable atmospheric films ever made. One wonders what other works may have followed had Laughton decided to further pursue a career in directing. The dream-like visual imagery he employed in "The Night of the Hunter" is groundbreaking, beautiful, haunting, and breathtaking all at the same time.

Reverend Harry Powell (Robert Mitchum) arrives in a small town one day with the letters H-A-T-E and L-O-V-E tattooed on his knuckles. Powell has learned of $10,000 in hidden money which was stolen by a man who used to live in the town. Seeking out the man's widow, Willa Harper (Shelley Winters), Powell hopes to find the hidden money and keep it for himself. The widow's two children, John (Billy Chapin) and Pearl (Sally Jane Bruce) know the location of the money but refuse to tell the mysterious preacher where it is. So begins a cat-and-mouse game between Powell and the children.

Laughton was ahead of his time in making such effective use of visual imagery. The shadows and lighting he employed added deeper layers of meaning to the proceedings. Especially noteworthy are the moments in the bedroom set and the shot depicting Willa Harper's final fate - both scenes still astonish to this day. When the children drift down the river while escaping from Powell, the wonder and darkness of nature is filmed in so graceful, mysterious, and absorbing a manner that one is reminded of the techniques of modern-day directors Terrence Malick and Tim Burton. Mitchum is amazing in what is easily the best performance of his carreer. Child actors Chapin and Bruce are also great as is Winters in a tragic role. The inclusion of screen legend Lillian Gish in the second half of the film is only icing on the cake for an already impressive production. ... Read more

Reviews (108)

didnt REALLY enjoy it
What I saw was "Snow Dogs." It stars Cuba Gooding Jr., Sisqo, James Coburn and Nichelle Nichols. Gooding is Ted Brooks, a dentist from Miami who inherits some racing snow dogs in Alaska from his mother. He learns that he was adopted from his mother's will and begins a half-hearted search for his natural father.

In Alaska, he meets a bartender who knew his mother. Ted wants to leave because he doesn't belong in Alaska. But to stop him, the bartender tells Ted who his father is. He finds out that his dad was white (and Ted is black). One kid in the theater asked what a diary was when Ted found his late mother's diary in the house that she lived in.

Overall, I didn't really enjoy this film, but I guess that young kids could give it a shot. I did chuckle a little bit at some parts, like when he said that one of the dentist operations would hurt more than a tickle and less than paying your taxes (a little adult joke, the kids wouldn't get it). Some of the lines in the movie didn't come out right, though. One of my favorite parts was when Ted was dreaming and Michael Bolton made a cameo.

R.I..P Mr. James Coburn aka Thunder Jack
Although Cuba Gooding has always gotten on my nerves, this movie is worth the watch for James Coburn's turn as Thunder Jack, a grizzeled mountain man. To lose Rod Steiger, James Coburn and Charles Bronson all in such a short time marks the end of an era and a goodbye to the last of the 'Real Men' of both Hollywood and the world...

What's with the running gag about Michael Bolton???
My 6-year-old is obsessed with this film. It seems like every time I hear the TV turn on, my daughter's got "Snow Dogs" popped into the VCR...again (sigh...)! It's harmless good fun and I certainly don't mind hearing her gleeful laughter resounding through the house. The only thing that gets on my nerves are the Michael Bolton references. Michael Bolton's music is used in the film soundtrack. Michael Bolton is a White recording artist, but his most successful releases have consistently been cover versions of songs by Black artists. The central character in "Snow Dogs" finds out that he's not only adopted but also only half-Black. His foster mother promptly quips that maybe this is the reason he likes Michael Bolton's music so much. Then at some point Michael Bolton himself makes a cameo in the film. And Bolton's music returns as the credits roll, this time a cover of a Stevie Wonder classic. Was this redundancy really necessary? Aside from that, I think "Snow Dogs" is a heartwarming family movie that parents will be able to tolerate without going nuts the twentieth time the kids put it on. Don't hesitate to check it out!

A charmer fit for the family, even the pets will love it!
A Miami dentist and a team of sledding dogs combine for a humorous, snow-filled adventure. Dr. Ted Brooks (Cuba Gooding, Jr.) has a successful practice, "Hot Smile," when one day his mother drops the news that he was adopted. He soon finds himself in a small Alaska town to claim his inheritance, which includes no money but plenty of dogs - not such a good match for the wealthy, canine-hater! Before heading back to balmy Florida, however, he braves the frigid climate in search of his biological father. He slowly finds himself drawn to the simplicity of the town and its people, including Barb, a tough but sweet bartender, and Thunder Jack (James Coburn), a very rough-on-the-outside, warm-on-the-inside "musher." When the "Arctic Challenge" sled race begins soon after, Brooks and his new canine friends discover the meaning of love and family.

There is so much to enjoy about this movie, which comes from a long tradition of Disney snow/dog/sled racing classics ("Snowball Express," "White Fang," "Iron Will"). It's lighter in tone but still provides some thrilling moments against a spectacular Alaskan backdrop. (They could have capitalized on the scenery even more.) The laughs come naturally in this script, as a Southern city slicker thrust into the Alaskan wilderness is bound to run into goofy situations. Cuba Gooding, Jr. is in fine comedic form, and a scraggly James Coburn easily takes to his lighter side. Both actors have proven their dramatic prowess with serious, decidedly adult roles, but the two fit snuggly into this family film and share some amusing and touching scenes. Though "Snow Dogs" lacks the scriptural tightness of films before it, it warms the heart.

THE DOGS ARE THE SHOW
Critics have pretty much bashed this movie, stating that Oscar winner Cuba Gooding has sunk to depths unprecedented by previous winners. A little harsh; SNOW DOGS works not because of Cuba; it works because it's hearts in the right place and the dogs are a pleasure to watch, especially Demon and Nana. There is one hilarious dream sequence where the dogs are sunning themselves on the beach, in lounge chairs, sunglasses and drinks in hand. Cuba does better once he gets over the prat-falling sequences early in the movies; Gooding comes nowhere near the masters of this: Chevy Chase, Steve Martin, Dick van Dyke and Jerry Lewis. But once Gooding stops trying to be these guys, his performance settles down, and he avoids killing the movie. Also, James Coburn is delightful as his "father", and Nichelle Nichols is even more beautiful than she was in "Star Trek." There's nothing new in this movie, but as typical Disney fare, it has an upbeat message and everything goes just as one would hope and expect; the Alaska backdrop is sumptous, too. Don't let the horrible reviews influence you; if you like this kind of "feel good" movie, it's fine. ... Read more

Amazon.com

Thora Birch (American Beauty) is Liz Murray: homeless at 15, Harvard undergrad at 19. Based on a true story, the Lifetime movie begins when her mother, Jean (Kelly Lynch), a schizophrenic with a substance abuse problem, is placed in a mental institution. Liz and her sister are left with their father, Peter, who is also a drug addict. When Jean returns two years later, she's clean, but has AIDS (and will soon start drinking again). When Peter falls behind on the rent, they lose their apartment. He moves into a shelter, the rest move in with Jean's abusive father. Liz hits the streets soon afterwards. Once on her own, she gets serious about her studies and her hard work eventually pays off. Homeless to Harvard earned three Emmy nominations, including one for Birch, while Lynch (Drugstore Cowboy) is just as believable as her kindhearted mess of a mother. --Kathleen C. Fennessy ... Read more

Amazon.com essential video

Tough stuff from director Fritz Lang(M), making his first American film with this 1936 story of an innocent man (Spencer Tracy) who escapes a lynch mob and then orchestrates his apparent murder at their hands. Tracy is superb, and the film is uncompromising, until studio interference takes some of the wind out of Lang's sails right at the end. But as the portrait of a character who comes to reflect the destiny he is trying to avoid, this is still essential Lang and a pre-noir classic.--Tom Keogh ... Read more

Reviews (12)

Lang's First American Film
An insightful study of mob rule, director Fritz Lang's "Fury" (1936) still packs a disturbing punch -- abetted by excellent performances from Spencer Tracy, Sylvia Sidney and Bruce Cabot. The closing shot was studio-imposed and unnecessary, but does not lessen the film's overall impact. "Fury" remains a powerful, thought-provoking drama. The DVD release includes an excellent commentary track from director Peter Bogdanovich.

We've Seen the Enemy And He is Us
What is amazing about Fritz Lang's "Fury" is it's depiction of middle America gone psychotic is it was distributed by MGM, the studio that advanced the Norman Rockwell idyll more than any other.This mirror of the darkest recesses of the American heart remains an obscurity, probably because we cannot admit to ourselves that when law and order break down we are capable of some of the most abhorent behavior.Obvious parallels can be made to what was occuring in Germany at the time of this film's release but our history suggests that, yes, it can happen here.There are many images that are seared in my consciousness from this film none more than that of one of the unruly lynchers munching on a hot dog as the jailhouse burns.Spencer Tracy is simply brilliant as the average Joe who, as a victim of circumstance, becomes the lightning rod for the mob's wrath.Sylvia Sidney contributes solid work as Joe's fiancee and the film's voice of reason.An underrated actress, Sidney also did a good turn in another classic film released in 1936, "Dead End".This film has to be commended for it's brute honesty, though, it took a foreigner to reveal some harsh truths about ourselves.

Smart 1930s Morality Tale from Fritz Lang with Spencer Tracy
"Fury" was legendary German director Fritz Lang's first American film. He spoke English, but not well enough at the time to write fluid dialogue, so Lang worked on the script with writer Bartlett Cormack, who did the actual writing. Lang and Cormack based this morality tale of mob psychology and revenge on a story outline by Norman Krasna entitled "Mob Rule", but they incorporated some elements of a real lynching case that had recently occurred in San Jose, California. Lang's intention was to give the film a realistic, documentary feel. "Fury" gives the impression of looking at the laws and customs of the United States through foreign eyes, which, of course, it is, but I don't know if Lang meant that to be so evident.

Joe Wilson (Spencer Tracy) is a man very much in love with his fiancée Katherine (Sylvia Sydney). The couple are eager to get married but don't yet have enough savings. Katherine takes a job in another city to earn more money, while Joe works hard in Chicago. After over a year of this arrangement, Joe has saved enough money to marry Katherine, and he sets out in his new car to join her. But he is intercepted by police en route and arrested on suspicion of being part of a kidnapping gang. He is held in a small town jail pending further investigation, but gossip spreads of the arrest, and an angry mob descends on the jail. When the mob is unable to break into the cells, they burn and dynamite the jail. Joe is thought to have died in the fire. But he escaped and is determined to avenge his attempted murder by seeing that the lynch mob is prosecuted for murder.

"Fury" isn't the least bit subtle in its message. It states its morals outright, but that doesn't undermine its power. The film is neatly divided into 2 parts: Part one concerns the Fury of the Mob, and part two is about Joe's Fury. The fury of the mob is transferred to its victim, and, although Joe's anger is more justified, "Fury" asserts that it is just as corrosive. At one point, the town barber delivers a monologue on violent impulse. The entertainment value that the public finds in both the lynching and subsequent trial is emphasized. And the state's Governor is reluctant to answer the Sheriff's request for National Guardsmen to protect the jail on account of election politics. The film is generally complimentary of the justice system, but scathingly critical of "mob justice" and vigilantism. "Fury" wasn't a failure when it was released, but neither was it a big success. Looking at it now, I wonder if that may have been because the film is critical of its audience. That's always a recipe for dismal box office. In any case, "Fury" is a smart "social conscience" film of the 1930s that doesn't align itself with any political party or group.

The DVD (Warner Brothers 2005 release): The picture and sound quality are good, but I don't think this is a restored print due to occasional small white specks. The flaws would hardly be noticeable unless you were looking for them, though. There is a theatrical trailer and an audio commentary by Peter Bogdanovich and director Fritz Lang. Yes, Fritz Lang! The commentary alternates between Peter Bogdanovich discussing Lang and the film in the present day and an interview with Fritz Lang that Bogdanovich did in mid-1965. Lang talks about his career, writing and filming "Fury", and differences between American and German filmmaking. Lang's commentary is quite a treat and very interesting. Bogdanovich is also interesting, as he fills in some of the gaps in Lang's comments. The audio commentary is definitely worth a listen. Subtitles for the film are available in English, Spanish, and French.

The scary thing...
is that this film is, with just a little tweaking, just as applicable today as it was then. Mob mentality is mob mentality, even if it's not literal. This is easily one of the best films to illustrate just how imbecilic and lemminglike mobs can be, and how self-righteousness can supposedly cover up for a multitude of sins. Tracy is superb, as are many of the characters, and Lang's direction is near flawless. The only things that keep this from being a 5-star film: The ending, which was forced on lang by the studio, and the fact that some of the acting, including Sydney in parts, is too over the top. Still, one worth watching and owning.

Brutal film !
The inner demons hidden in a crowd will explode with all the expected fury around and innocent man acussed unfairly .

The sociological study of the human being is exposed in all its ugly nakeness .

So after you watch this sinister nightmare brilliantly played by Spencer Tracy, please remind that famous reflection of Ibsen taken from An enemy of the people : ^The majority never has the reason^ .

This movie was the first one made for Lang when he came to North America after leaving Germany .

A major cult movie ! ... Read more

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Clint Eastwood (the Man with No Name) is good, Lee Van Cleef (Angel Eyes Sentenza) is bad, and Eli Wallach (Tuco Benedito Pacifico Juan Maria Ramirez) is ugly in the final chapter of Sergio Leone's trilogy of spaghetti westerns (the first two were A Fistful of Dollars and For a Few Dollars More). In this sweeping film, the characters form treacherous alliances in a ruthless quest for Confederate gold. Leone is sometimes underrated as a director, but the excellent resolution on this digital video disc should enhance appreciation of his considerable photographic talent and gorgeous widescreen compositions. Ennio Morricone's jokey score is justifiably famous. The digital video disc includes about a quarter-hour of footage not seen in the original release. ... Read more

Reviews (185)

A few scenes more
Sergio Leone proudly served up his finest spaghetti Western to a Roman audience in the final days of 1966. The premiere print of "The Good, the Bad and the Ugly" sprawled over three hours in telling its tale of three desperados in search of gold amid the chaos of the Civil War.

The men from United Artists also were on the trail of treasure. American audiences, they knew, would not sit for a 178-minute Western, especially not an import starring a TV actor (Clint Eastwood).

Out came 17 minutes, and so was breach-born the version of "Good, Bad, Ugly" that has endured as a male-bonding touchstone for four decades. Looking to make things right (and to mine more gold), MGM a few years ago decided to re-create the storied film that unspooled in Rome that night. The restored, full-length English version of Leone's epic is worth every dollar in this two-disc DVD Collector's Set.

Sure, Leone's film loses much on the small screen -- its borderline-surrealistic vistas shot in Spain are legendary -- but the DVD's visuals are clean, with decent contrasts (anamorphic widescreen, 2.35:1). Compared to MGM's 1998 release, there's a dramatic reduction in flatness, speckling and miscellaneous wear. The 5.1 Dolby Digital audio has its moments but isn't up to the standards of the imagery.

The DVD medium is, of course, unrivaled at presenting the history of complicated productions like these. MGM's set gets that job done, for the most part. Eastwood biographer Richard Schickel does the heavy lifting in a commentary that, amazingly, runs on fumes only near the end of three hours. The 2002 restoration project is covered in an 11-minute docu that goes over the added/restored scenes. They mostly just smooth out the narrative, but it's hard to reimagine the film without them.

"Good, Bad, Ugly" is as closely associated with composer Ennio Morricone as with Leone. Film music historian Jon Burlingame talks about the maestro in a short featurette and in a more-detailed audio lecture. No explanation is given for Morricone's lack of participation on the DVD, and you get the feeling he's been downplayed for not playing along.

There are two types of people, my friend......
The Good, the Bad, and the Ugly is the classic spaghetti western that completes Sergio Leone's Dollars Trilogy. This is personally my favorite over the other two, although all three are great. The movie follows three men in their pursuit of $200,000 in gold. The story is set in the Civil War in southern Texas. The adventures of the three characters include a Union prison camp, a huge battle reminiscent of World War I, and of course the famous showdown in the Sad Hill Cemetery with Tuco running frantically around the graves looking for the one marked "Arch Stanton."

All three main characters give excellent performances here. Clint Eastwood stars as Blondie, Eli Wallach as Tuco, and Lee Van Cleef as Angel Eyes. The fourth star has to be Ennio Morricone's soundtrack. The music is fabulous throughout and well worth buying the soundtrack. Also starring are Mario Brega, Luigi Pistilli, and Aldo Sambrell. Leone's use of extreme close-ups and epic landscapes are excellent throughout.

The DVD is awesome and well worth the purchase. It contains the widescreen presentation, excellent color and sound, theatrical trailer, and 14 minutes of never-before-seen footage with English subtitles. This footage includes scenes that help explain how Angel Eyes ends up in a Union prison camp and also how Blondie later joins up with Angel Eyes' gang. After seeing the movie so many times without this footage, it was odd to see it, but still very entertaining. A must have for Spaghetti western fans!

Brilliant Restoration!
"The Good, the Bad and the Ugly" is Sergio Leone's magnum opus. An audacious undertaking, it would have flopped miserably in any other director's hands. Only someone so commited to his artistic vision as Leone could have pulled off this bombastic pageantry of human nature in all its facets, its capacity for cynicism, greed, bloodlust, revenge, heroism, redemption and honour.

This movie must be *experienced.* Put the DVD in, turn the stereo all the way up and let it pummel you from the moment the Lardani titles blast onto the screen in a blaze of Technicolor fury. The montage of colour, interspersed by stark black and white visages of Eastwood, Van Cleef and Wallach is a tough act to follow, like Saul Bass' mesmerising titles for Hitchcock's "Vertigo."

The wait is now over! Last year, MGM/UA issued a restored 35mm print, which showed at the Film Forum in Manhattan. First restored in Italian by Cineteca Nazionale, the English-language restoration was spearheaded by Martin Scorsese, whose efforts with the Film Preservation Foundation have helped fund preservation of America's celluloid heritage. Both Eli Wallach and Clint Eastwood returned to the sound studio to dub new dialogue for approximately 20 minutes of restored footage. Both sound a little older and scratchier, but these added scenes help to explain both Tuco's and Angel Eyes' gangs and some plot points that were previously unclear. However, they both sound great! (Van Cleef's voice was dubbed by a professional voiceover artist, and sounds almost on target). The movie now has the true feel of a sprawling epic, one that's earned its right to take its time.

This special edition DVD features the movie restored to its original length in the Italian version, and comes jam packed with interviews with Eastwood, Wallach, producer Alberto Grimaldi and -- most importantly -- Mickey Knox, who wrote the English language dialogue. Knox crafted lines that lived up to the larger than life screenplay. You'd swear the original was in English, the dialogue is so perfectly tailored!

But the vision is singularly Leone's. It starts slowly, as a band of bounty killers home in on their prey, small-time bandit Tuco Ramirez (THE UGLY, played by the venerable Eli Wallach). They pile through a saloon door, then the camera imediately pans away laterally. Suddenly, his body hurtling through the front window in a rain of glass, Tuco bursts onto the street -- in what has to be the most absurd grand entrance in screen history -- revolver in one hand, a chicken leg in the other. It's total chutzpah on Leone's and Wallach's part.

If you think *that* can't be topped, watch Wallach's entire performance. Animated is putting it mildly. More than a performance, Wallach is a one-man band, nay, Army. Never has such a selfish, petty, ratty and shifty little man been played so larger than life. Wallach smirks, scurries, grimaces, chuckles, shouts, bellows and slyly oils his way across the screen in what has got to be the hammiest performance ever by a method actor. Or *any* actor: He makes Orson Welles, Burt Lancaster and Charles Laughton look like the grey and sullen cast of Woody Allen's "Interiors," he's so alive with passion that he literally sweats his performance out through the filthy pores on his stubble-ridden face. And he's wonderful!

If that's a tough act to follow, you haven't met the bad. They don't come any badder than Angel Eyes, Lee Van Cleef's hired killer who's got ice water running through his veins. Van Cleef is ruthless, bold and heartless. Riding out of nowhere onto a doomed man's rancho, Angel Eyes pays a visit, carrying out a murder for hire. The price: $500. But the victim offers him $1000 to look the other way. No dice: Angel Eyes isn't in it for the money. Rather, he's a man who loves his work, and always sees the job through. So, the poor sod dies anyway.

Clint Eastwood is as cool as a cucumber as The Man With No Name (but really one with sort of a name, in this case "Blondie," which is Wallach's moniker for him). It's fun watching the ongoing relationship between Blondie and Tuco as bounty hunter and prey. In another life, they would have been great pals, but in this life ("we're all alone in this world," Tuco confesses to Blondie, half seriously, half cynically) their love of money is thicker than friendship. So, they invent ingenious and cruel ways to exact revenge of each other.

It's during one of Tuco's sadistic plots - in which he marches the pale-skinned Eastwood across 100 miles of scorching desert - that the plot finally comes to a head: A driverless stagecoach full of wounded Confederates happens across their path, and through a twist of fate, Tuco and Blondie each have two halves of a secret which, if put together, will make them a quarter of a million dollars richer. But, without each other the two halves are worthless. Thus does Tuco do a 180 from brutal executioner to Blondie's would-be saviour. Now that he could be rich, he suddenly realizes how valuable their friendship is.

It's not before long that they wind up with Angel Eyes, as they're captured by Union soldiers. At the prisoner of war camp, a deadly game of cat and mouse begins. Van Cleef is now more restrained and less thuggish as he deals with Tuco to extract the secret; his henchman Wallace (Mario Brega, a Leone stalwart), pummels it out of Tuco.

In epic fashion, after a shootout in a deserted town and a bridge demolition that explodes across the screen, Tuco, Blondie and Angel Eyes make their way to the cemetery where the treasure is buried. In a fanfare of brass, percussion and chorus, the three face each other down in the cemetery plaza. It's a gorgeous and cathartic set piece. Credit must go not only to composer Ennio Morricone but also to musical director Bruno Nicolai, who conducts the score con fuoco.

The West as it never ws
It took an Italian to revolutionize the American Western. Everything was strange and new about the Good, the Bad, and the Ugly. Perhaps the strangest was that it was not a contest between good and evil -- the white hats and the black hats -- as was the typical western, but instead had a plot driven by the greed of the three characters -- one of whom is charitably called good, the other two certifiably bad and ugly.

The music is extraordinary -- one of the best and most original soundtracks ever. The photography is weird -- no one had ever focused so close-up on people's eyes or the pores in their skin. The violence is brutal and surreal. The three-cornered gunfight is one of the great scenes from cinema. The scenery is off. It doesn't look like the American west -- and in fact it isn't. The movie was made in Spain. The characters are incredibly seedy. Most of them look like they took a bath about a decade ago and haven't changed their clothes since. And nobody gets the girl -- because there isn't any girl.

I love this movie! It makes my all-time top ten list. Clint Eastwood is cool beyond belief; Eli Wallach is a hoot; and Lee Van Cleef is really, really bad.

"Such ingratitude after all the times I saved your life..."
"The Good, the Bad and the Ugly" is Sergio Leone's epic masterpiece. While it is part of his Spaghetti Western Trilogy( all three films have different characters and plots), the film stands on its own and really shows you how good a movie can really be. This movie has it all. It has action, drama and even some comic relief in it. It is a timeless classic that is unforgettable. When I first saw it, I was a little kid and couldn't truly appreciate it as I can now at age 22.

Blondie (The Man with No Name) isn't your typical good guy. He mainly does things that suits his own agenda. However, when compared to the murderous Angel Eyes and the greedy Tuco, Blondie is saint. This tale involves bloodshed, shoot-outs, search for treasure, and double-crossing. And it all takes place while the Civil War is going on, which makes things a lot more "interesting" for the notorious three. The West has never been wilder or more unpredictable than it is now. With an incredible score, excellent acting, and superb story-telling, this is one memorable film that you will never forget.

As I said in the beginning, the first time I saw this was when I was a little kid. When I just recently purchased this new edition of the movie, it truly was like I was watching it for the first time. Coming from a guy who isn't a big fan of Westerns (I don't mind them, but I don't watch too many of them), I absolutely LOVED this film. In fact, I wanted to give it a standing ovation when it was all said and done due to how moved I was by it. This really is filmmaking at its finest. I wasn't terribly impressed with Leone's "Once Upon a Time in America," but he is absolutely flawless with this amazing and timeless Western. It is slower than the second film ("For a Few Dollars More"), but I think that makes this all the better. The build up of tension is much more present in this film, and you really get the sense that these characters are real people. Clint Eastwood, Lee Van Cleef and Eli Wallach are brilliant in their roles, and a lot of props need to go to Lee Van Cleef as he is absolutely chilling in his role.

This new edition really does the film the justice it deserves. The film has been restored to the director's original vision as much as possible, giving you an extra 18 minutes. You will notice the added scenes as the voices have been re-dubbed (the first time you will notice this will throw you, as I think that specific part has the worst re-dubbing, but the other added scenes are done a lot better, even if you still notice it). The picture looks incredible and the sound is great. Extras included are commentary from Richard Schickel, a couple of documentaries and featurettes, poster gallery, deleted scenes and the original theatrical trailer. Along with the nice packaging, you get an 8-page booklet that includes pictures from the film along with Roger Ebert's most recent review of the film. And, you get some mini-posters included inside the packaging as well. A superior edition of the movie, without question.

"The Good, the Bad and the Ugly" is a pure triumph in filmmaking and should be seen by everybody at least once. Don't let the fact that this is a Western throw you. I think this can be enjoyed by everybody, and even by those who are not big fans of Westerns. A film filled with authentic emotion and action, this is one that shouldn't be missed by anyone. I LOVE this movie, and I cannot express that enough. -Michael Crane ... Read more

Description

Offenbach's extraordinary opera is performed here in thisCovent Garden production by Placido Domingo, Luciana Serra, Agnes Baltsa and Ileana Cotrubas. The Royal Opera House Orchestra and Chorus are conducted by Georges Pretre. ... Read more

Reviews (8)

An exelent production
This is probably the best Hoffman on Video. Domingo is at his peak here, the best Hoffman I've ever heard singing the best I've heard him sing the role. Particularily good are the Ballad of Klinzach and "Amis! L'amour tendre", which is acted excellently by Domingo and features some really great buisness from Anges Balsta, Domingo and the chorus.

The conducting of Pretre is speedy, and most of the time it works, but, in some places (like the Baracolle, sung beautifully) it seems the singes can hardly keep up.

The production values are nothing short of increadable. the late John Schliesinger shows himself to be a capable operatic director, with several nice touches to the production, such as Lindorf appearing at the end of each act, mocking Hoffman and laughing. I would have prefered to see the roles acted by one man, but the seperate apperances of Lindorf do just as well. The begining of the Venice act is very impressive, with the gondolas floating ominously and the writhing orgy taking place on the banks of the cannal. The designs of Maria Bjornson and Willum Dudley utilize the three-story stage excellently, and give each setting a different feel: The tavern a place of grity reality, Paris a zany Victorian invetors lab, Venice a C.B. DeMille nightmare, and Munic the feeling of a derilict, clostrophobic mansion from hell.

The singing, other than Domingo is almost uniformally good. Luciana Serra, as Olympia is fine acting-wise and her voice is pleasent enough, but I don't like her phrasing. Balsta's Guiletta is increadeble, a real stand out. She looks terrific, too. Ileana Cortubas' Antonia sings well enough, but could act the part better, but you warm up to her eventually.

As the Villians, Robert Llyod (asways reliable) is a memerable Lindorf, though he speaks rather than sings Stella's letter and takes his aria much to fast. Sir Geraint Evans is amazing as Coppelius, both zany and extreamly creepy. Seigmund Nimsgern is extreamly hypotic as Dappertutto, and gives the best vocal performance out of the four villians. Nicolai Ghiuselev's Miracle is the production's biggest letdown, as he is overpowered in his two trios easily and acts rather woodenly.

Claire Powell is an excellent and masculine Nicklausse, and makes a ravishing transformation into the muse, where her sdialouge is not as good. In smaller roles, Robert Tear is a memerable Spalanzani and Gwynne Howell is an excellent and touching Crespel. Bernard Dikerson is very funny as Frantz, giving the best acting performance (if not vocal) of "Jour et Nuite" I've heard yet. Paul Crook is execellent as Conchinelle, but not as Andres. Chorus and Orchestral work are both excellent.

This is a production I would highly recomend under any circumstances.

kultur shock
This is a total DVD disaster fom Kultur. I have tried two copies of this wonderful performance and both had a miserable soundtrack and opera is sound. Volume swells and fades throughout the performance destroying a terrific production. Would love to know what Placido Domingo thinks of it. Dr. Mirakle must have been the sound mixer.

Wonderful except the production
I prefer my operas grand and colorful. This production was grand but in monochromatic colors. OK but I have seen so many better interpretations of this opera in color.

The music is wonderful. I loved all the principals. I am glad I bought this version. I have the one from Lyons France and it is awfull. I do not know of any other DVD of the Tales of Hoffmann.

Not DVD Quality
The content was good but the Video quality was very poor. I was watching on my Sanyo HD PLV-60 projector. It looks like the master tape was a VHS or 3/4" tape. The original show was taped in 1981 by the British. Those people are perfectionists. The only explanation for the poor quality must be 2nd and 3rd generation of tape or a bad transfer from PAL to NTSC TV.

You should not watch this DVD on a big screen.

I Loved It!
This is a great, great performance. Domingo's Covent Garden Hoffmann is supreme, but this is no one-star show: there is a first-rate supporting cast as well (including the veteran bass-baritone Sir Geraint Evans as Coppelius -- I believe these were his last Covent Garden performances -- the always-outstanding Robert Lloyd as Lindorf, and the touching Ileana Cotrubas as Antonia). Every fan of HOFFMANN and/or Domingo should watch this video! ... Read more

Description

The hottest day of the year explodes onscreen in this vibrant look at a day in the life of Bedford-Stuyvesant, Brooklyn. Featuring a stellar ensemble cast that includes Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Robin Harris, Samuel L. Jackson, Bill Nunn, Rosie Perez, and John Turturro, Spike Lee's powerful portrait of urban racial tensions sparked controversy while earning popular and critical praise. Criterion is proud to present Do the Right Thing in a new Director Approved special edition. ... Read more

Reviews (94)

A brilliant, scorching movie
Spike Lee takes us to a single block in Brooklyn on the hottest day of the year in his awesomely brilliant movie "Do The Right Thing". The movie opens on a sultry early morning; by the time it ends, on a sweltering midnight of the same day, the heat, and the movie, have built up unbearable tensions that explode in in a confrontation that engulfs the street and everyone in it. At the heart of the block and the movie is Sal's Famous Pizzeria, run by Sal and his two sons from Bensonhurst (also in Brooklyn but it might as well be on the other side of the planet), with its "Wall of Fame" covered with photographs of famous Italian-Americans, glaringly out of place and insultingly insensitive on this African-American street in Bedford-Stuyvesant. The movie presents us with an unforgettable set of characters, including Danny Aiello in a great performance as Sal, Spike Lee as Mookie, his delivery man, Rosie Perez as Mookie's long-suffering and neglected girlfriend, Giancarlo Esposito as Mookie's radical friend Buggin' Out, Bill Nunn as Radio Raheem with his suitcase-size boom box that eats up 20 D batteries at a clip, the nearly legendary husband-wife acting team of Ossie Davis and Ruby Lee as Da Mayor, the street bum, and Mother Sister, the neighborhood snoop (every neighborhood has to have one), Samuel L. Jackson as Senor Love Daddy, and Joie Lee, Spike Lee's real-life sister, who plays Mookie's sister Jade in the film. Among a host of minor characters, the best are the three men parked on the sidewalk, ML, played by Paul Benjamin, Coconut Sid, played by Frankie Faison, and Sweet Dick Willie, played by the late Robin Harris, who act as a kind of Greek chorus to the unfolding events. Much of the speaking parts of these three was ad-libbed on camera, and the actors seem to have had a ball with their characterizations (Buggin' Out: "You wanna boycott Sal's Famous Pizzeria?" Sweet Dick Willie, observing Buggin' Out's every-which-way haircut: "You oughta boycott that barber who f---ed up your head.") Always present, and intrusive, are a squad car with two white cops, who view the neighborhood inhabitants, and are viewed by them, with undisguised contempt. The street, and the environs, are so convincingly portrayed that the heat is palpable; we can almost feel their discomfort as we sympathize at their attempts to alleviate it. One of the most priceless scenes in the film is the loudmouthed "alien" who drives through the block in an open Cadillac convertible and dares the kids to get it wet (when he finally manages to pull over and open the door, Niagara Falls spills out). A demand by Buggin' Out that Sal put some photographs of blacks on the Wall of Fame, which Sal dismisses out of hand, sets the stage for the confrontation that will blow sky-high. Buggin' Out returns to the pizzeria just before closing time with Radio Raheem, boom box blasting away at full volume, and Sal, his last nerve shot, silences the noise with a baseball bat. The resulting free-for-all spills out into the street just as the police arrive; Radio Raheem is pulled off Sal, who he is choking silly, and killed by the police with an illegal choke-hold. The police speed off (one could say they fled the scene of their crime), leaving Sal and his sons alone to face the neighborhood's rage. The pizzeria is torched, the neighborhood riots, and the firetruck arrives with firehoses turned on the rioters instead of the pizzeria, in a scene reminiscent of Sheriff Bull Connor in 1960's Alabama. "Do The Right Thing" is one of the most searing commentaries on American race relations that has ever been put on film. It's provocative, it's insightful, it's profound, it's a masterpiece, and it's definitely Spike Lee's best movie.

Do the Right Thing Review
It's the hottest day of the summer and racial tensions run deep in the Bed-Stuy section of Brooklyn, New York. This is the backdrop for Spike Lee's controversial 1989 film, "Do The Right Thing". Many critics and movie-goers were quick to blast this film for being what they perceived to be a "racist" movie. Most people who say this have probably only seen the movie once and were so quick to complain about its tension-filled ending.

"Right Thing" stars writer-director Lee as Mookie, a somewhat lazy pizza delivery boy who works at the local pizzeria run by Sal and his Italian-American sons. Through Mookie's many trips through the neighborhood, we get acquainted with some of the other "characters" such as the block's "wise man" (or "town drunk", depending on how you perceive him), "Da Mayor" (Ossie Davis). We also get introduced to the trouble-making Buggin' It Out who is intent on boycotting Sal's Famous until they "put some brothas on the wall". Then, there's Radio Raheem, whose boombox blasts Public Enemy's "Fight The Power" loudly through out the movie. He doesn't speak much as the music seems to be his outlet of expression. It also happens to get him in a lot of trouble as the movie progresses.

Lee's treatmant of certain characters in "Right Thing" is questionable at times. He seems to feel strongly that many of the white characters in this New York neighborhood would root for Boston sports teams because their top players are also white. At times, Danny Aiello's Sal seems sympathetic and kind while in the end, he is more or less portrayed as a "closet racist". This might be why some of us are so fast to make observations about the film's racial biases but I've never felt that "Do The Right Thing" has ever been about who is right and who is wrong. In the end, everyone loses out because rather than go about handling certain small problems by compromising, people choose to argue over who is "doing the right thing" and who isn't. In the end, people are hurt and killed, property is destroyed, and all that seems to remain is animosity.

While I may argue with the way that Spike wrote certain characters, this is "his" movie. Would the ending situation have been any different if he had re-wrote them? Probably not. So many of its critics fail to see the big picture with "Do The Right Thing". It isn't about whether Sal was right or whether Mookie was right or Buggin' It Out. The original problem was so small, so minor, and each of the characters allowed it to balloon into a big one. Even the less important characters contributed to the problem by instigating it further. The only character who seemed to understand what was going on was Samuel L. Jackson's almost narrator-like radio DJ, Senor Love Daddy. He understands it, he sees the tension esculating, and he is telling everyone to relax but it's too late. "And that's the triple truth, Ruth".

"The left hand is hate. The right hand is love."
This movie is largely an angry, outrageous film. But it is also a beautiful and enlightening one. DO THE RIGHT THING garnered Spike Lee, writer, director, and star of the film, both praise and criticism. But what you must remember, those who either praise it or look down upon it, is that DO THE RIGHT THING couldn't be further from the truth.

DO THE RIGHT THING was an introduction to Lee's brazen and bold style of filmmaking. He had a part in every aspect: direction, cast, production, writing the screenplay, etc. That's why, if someone is interested in seeing a "Spike Lee joint", I will definitely recommend DO THE RIGHT THING first and foremost.

It's a look at race relations in America circa 1989, a drastic glimpse in which the outsiders, meaning the audience, can feel as if they are right there in Harlem with Mookie (Spike Lee).

Mookie is an unmarried father, a boyfriend to Tina (Rosie Perez), loud and outspoken with her buxom figure. She pushes Mookie to spend more time with her and their son, complaining about him being a deadbeat dad. His excuse? Work.

True, much of Mookie's time is spent working at Sal's, a pizzeria in Harlem, run by white Italians in a neighborhood where the population appears to be around 99.5 percent black.

Other characters include Radio Raheem (Bill Nunn), Da Mayor (Ossie Davis), Mother Sister (Ruby Dee), Buggin' Out (Giancarlo Esposito) and Jade, Mookie's sister (Joie Lee). Radio Raheem's dialogue throughout the film it limited - he more or less expresses his freedom through his incessantly blaring radio. In fact, throughout the entire movie, Public Enemy's "FIGHT THE POWER" blasts throughout the neighborhood. Buggin' Out is irked with a situation at Sal's that he feels must immediately be taken care of. He just wants Sal to "put some brothas" up on his restaurant's walls, right beside pics of Frank Sinatra and Clark Gable. Sal (Danny Aiello) refuses to comply with Buggin' Out's request.

In the end, Radio Raheem and Buggin' Out fuel an argument that quickly evolves into a neighborhoodwide conflagration. Alas, Mookie fuels the fire by hurling a trashcan through the glass window of the pizzeria - his boss' pizzeria - and the brawl proceeds, with Sal and his sons standing on the sidelines.

DO THE RIGHT THING is an odd title for a film like this, some people may think. Is the right thing done? Does Lee believe that the characters in his film did the right thing? I'm not sure. The title can be interpreted in a number of ways, I suppose. First, I suspected it was irony. No, Mookie didn't do the right thing! He fueled the fire and instigated the riot to mammoth proportions! Property was destroyed and damaged! My second conclusion was merely that "doing the right thing" serves as an argument for the people, for people unwilling to make compromises or verbally come to an agreement through reasonable, mature conversation. In reality, the film isn't about who is right and who is wrong and why. You had people like Mookie, who seemed to act on impulse, and then you had Da Mayor, trying to calm the livid people down, trying to talk sense into their heads. People evidently followed Mookie's lead and in the process, they hurt and killed others, seriously damaged and neighborhood properties. Not only that, but mere misunderstanding and hate seems to exist between them, even after the riot ends. That's a sad thing, yet it's also a very true thing.

Lee's picture clarifies the fact that yes, misunderstanding between peoples does fuel hate, which, in turn, fuels even bigger and uglier physical problems. DO THE RIGHT THING was taboo for how it portrayed peoples of different races, yet for film's time, the state of Harlem and its residents was portrayed with frank and genuine realness that simply can't be denied. Certain characters, settings, and events rung clear and true. DO THE RIGHT THING is arguably one of the finest examples of race relations illustrated in film. You can watch and rewatch - and learn - from this tumultuous and dramatic "Spike Lee joint".

An EYE OPENER
The eye opener of the year...I loved it. Excellent story line and a must see movie by mature audiences only. Very compelling!

That¿s the double-truth¿ Ruth
In all likelihood Spike Lee's most important achievement - as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, 'Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria - its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind - on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy - played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances - half active character and half all-knowing narrator - who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones - Buggin Out and Radio Raheem - who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it - hopefully - you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time. ... Read more

Amazon.com

Disney's adaptation of the beloved fairy tale became a classic in itsown right, thanks to some memorable tunes (including "A Dream Is a WishYour Heart Makes," "Bibbidi-Bobbidi-Boo," and the title song) and some endearingly cute comic relief. We all know the story--the wicked stepmother and stepsisters simply won't have it, this uppity Cinderella thinking she's going to a ball designed to find the handsome prince an appropriate sweetheart, but perseverance, animal buddies, and a well-timed entrance by a fairy godmother make sure things turn out all right. There are a few striking sequences of pureanimation--for example, Cinderella is reflected in bubbles drifting through the air--and the design is rich and evocative throughout. It's a simple story padded here agreeably with comic business, particularly Cinderella's rodent pals (dressed up conspicuously like the dwarf sidekicks of another famous Disney heroine) and their misadventures with a wretched cat named Lucifer. There's also much harrumphing and exposition spouting by the King and the Grand Duke. It's a much simpler and more graceful work than the more frenetically paced animated films of today, which makes it simultaneously quaint and highly gratifying. --David Kronke ... Read more

Reviews (63)

I LOVE THIS MOVIE AND CAN'T WAIT FOR OCT 4, 2005!!!
Despite from what other reviews say, I am putting my 2 cents in here about this movie.
I loved this movie when I was young and I still love it and now since I have a 2 yr old child it makes it that much better for she LOVES the movie (have it on VHS)and it makes it more fun for a Mom and Daughter movie night together!!! For I wish it was Oct 4 so I can get it for her!It is a fairy tale movie not an educational movie (as someone's review complained that it's not educational or giving the right message but I think they claim Shrek does)for it's kind of like what every little girl wants which is to find her Prince to live happily ever after.
This is one of the best Classic Animations that Disney has done along with Snow White.

Also you expect for alittle girl wanting to have an ugly girl like one of the step sisters to marry the prince??? For girls love pretty Princesses not ugly ones.They are Fairy tales for children to watch.That's all and little girls are not watching it to find messgaes.For what is a 2yr old like my daughter who loves this movie gonna pick up from it besides seeing a pretty Princess living happily ever after??

Go watch Shrek Instead
I remember watching this as a child in the 70's and feeling a bit board...now as an adult I don't think the message is very healthy! Cinderella gives children the harmful impression that "it pays to be pretty."I don't think there are any positive messages in this film for young girls.I would recommend that you go out and rent Shrek instead.

WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
I've just seen the images, and waouh! I an sooo looking forward October 4 I hope the original film has been restored I want to see the real Cinderella (the one Disney had drawn himself not the one who looks like a Japanese cartoon) and please the real songs.... quick quick quick I want it soooooooo much!
Nell

THE ULTIMATE FAIRY TALE NOW ON DVD!
This animated feature saved the Disney studio from almost cetain bankruptcy; there hadn't been a big hit since Snow White, and the studio was foundering, badly. Cinderella came along and put on the glass slipper and showed it to the world and the rest, as they say, is history. The songs from Cinderella have stayed with me all my life, and are a fixture I carry with me from many years ago when I saw this magical movie for the first time, my favorite being "So This is Love..." Cinderella contained a scene that Walt himself stated was his personal favorite of all from the wonderful features he created, and that is when Cinderella gets her dress from her Fairy Godmother. The dress, if you notice, is a color that literally defies description and really does seem to come from the magic wand of the FG; the entire scene is fantastic, the mice turned into beautiful, horses to pull the exquisite coach, created from a lowly pumpkin, that dances on it's vine over to the FG so she can transform it into the thing of splendor, the Fairy Coach. The stars and twinkles from the dress and the transformations are spectacular, and it is hard to imagine the meticulous detail the animators used to draw these fairy dust particles that add such enchantment to the scene. Cinderella's old horse becomes a buck-toothed coachman and is clearly delighted to be included in the excitement of the night. An actress/dancer named Ilene Woods was rotoscoped (a technique where the actors are filmed and then drawn over) for her part as Cinderella and it is her movements that became Cinderella's. The Wicked Stepmother is a great Disney Villain, voiced by Eleanor Audley, who later voiced Maleficent for Sleeping Beauty; her voice is fantastic, the perfect blend of sophistication and malevolence. When first seen in her vast bedroom, stroking the wretched cat Lucifer, she seems to be a real witch with her familiar, and her face remains in shadow for a time...The mice are wonderful little characters, the cutest, IMHO, is Gus-Gus, a tubby little guy Cinderella finds in a trap and rescues and gives him, as all her little mice friends have, tiny clothes including shoes. Lucifer the cat is dreadful, such a bad kitty you dislike him all the way, and Bruno, Cinderella's old hound dog saves the day and sends Lucifer to his just reward. Jacques, the lead mouse, is the real hero, and saves the day at a critical point toward the end. There is a wonderful scene of the King lamenting his son's lack of a suitable wife to the Grand Duke, another great and very amusing character, and yearns for grandchildren while looking at portraits of the Prince from childhood up until the present day, and as the Prince gets older, the portraits get bigger and bigger and the last one is so enormous it has to hang in a castle of truly magnificent and royal proportions.
This is the all-time classic fairy tale, originally written by Charles Perrault, who also wrote Sleeping Beauty, another of my favorite Disney classics in ever sense of the word. I have this on VHS, and have watched it too many times to count; and now I cannot even imagine how beautiful and rich the colors will be on DVD; I cannot wait to get my copy and look forward to many viewings of this wonder that saved the Disney stuido from disaster, for the unending benefit of all of us children, from infants to 100+ year olds. Enjoy!

Damn ESPN commercials!
I haven't seen this movie since I was like 5 or 6 years old. But I've been sick of it lately because of those ESPN commercials during March Madness where Cinderella drops the slipper and the guy chases after her when she drops it. Otherwise it's an ok movie. Nuff said! ... Read more

Book Description

Reviews (43)

Full On Idle
When the film "Slacker" opened in 1991, it wasn't long before its director, Richard Linklater, found himself in the spotlight, fielding questions about the generation portrayed in his movie. This enlightening companion book was published a year later and not only addresses some of the media hype surrounding the film, but includes a wealth of additional information, insights, and trivia for fans. There's a brief section on Texas' slacker past, a bit on why Austin was the perfect backdrop for the film, and Linklater describes the ideas that led up to its creation. An early 'roadmap' of the script lays out the basic action of each scene, followed by the full transcription of the final film (which is very handy for quoting the dialogue). There's also actor profiles, providing over 70 entertaining bios of each of the folks who appeared in the movie, as well as a section of notes from the crew. The pages often recall the feel of a fanzine, filled with numerous photos, stills, clip art, and flyers from Austin rock shows and film festivals. The sidebars are peppered with Linklater's diary entries, chronicling the "Slacker" project from the beginning brainstorming stages to the eventual screenings and publicity. All in all, this is a fantastic book for both aspiring directors and devotees of the cult film.

SLACKER ON DVD. AMAZING. THANK YOU CRITERION.
I am so happy Slacker is finally getting a dvd release, and the fact it's going to be released as a special two disc set, as part of the Criterion collection, is awesome. Dazed and Confused, and Waking Life were great, but Slacker is Richard Linklater's best film. Strange, funny, and sad, it is the most unique film I have ever seen. If you have seen it, then your probably just as stoked as I am. If you haven't seen it, holy cow, your in for a treat. One of the best films of the 90's. I still don't understand why Slacker has been under the radar for so many years, it's a classic. There is a free flowing structure that works perfectly for the characters, (there are about 80) and locations. The only way I can describe this movie, is that it takes place in Texas, bounces from character to character, getting to know a little about each one along the way. Like all Richard Linklater's movies, It has a very dream like quality. This is a great film.

Finally on DVD, and a double-disc Criterion no less!
Linklater's brilliant debut done in one continuous shot. You've never seen anything quite like it. If you loved Waking Life, then here's the more organic live people version.

Oh, how I miss the early 90's, and they were captured here so well. The look, the feel, the fatalism. He successfully captured a moment in time (the 70's) again with Dazed & Confused, another double-disc set coming soon.

Very disappointing.
I thought I would like this one. The subject appeals to me. I've enjoyed some of Linklater's other films. But after the first half hour of "Slacker" I was wondering how much longer it would drag on.

There isn't anything that bad about the film, but there isn't anything that good either. The characters are mildly interesting, but only mildly. The average PBS documentary is far more entertaining. Watching "Slacker" is like watching paint dry -- splattered, multicolored paint, but still paint. I feel like I was conned into paying to watch someone's film school project. The fact that 101 minutes are so poorly spent does make the film sort of a slacker performance art piece that we can all take part in, but there are far better ways to waste time.

looking for the dvd?
i had been looking for that dvd hi and lo, and well, it's not available in region 1 (ie: the u.s.), but it's available on a uk edition (ie: region 2, make sure your dvd player is region-free)... i suppose i can't write here which uk websites still have those slackers dvds, but if you just google 'slacker' and dvd' you should find them. it goes for about 8.99 pounds a pop, plus 1 pound shipping. cool, uh? thought you might wanna know. ... Read more

Reviews (213)

"The 70's...oh my god, they obviously suck!"
That is one of many classic lines from this movie that makes it a classic. However, this movie could have been set in the 70's, 80's, 90's or 2003 and people would have seen themselves or their friends in this outstanding cast of characters. We all lived through high school, and we can all identify with the characters depicted in Dazed and Confused.

For example, there's the kid who's 27 and still hanging out with all the high schoolers, still trying to date high school freshmen 13 years his junior (Matthew McConaghey). For some kids, you can tell that high school will be the pinnacle of their sad, pathetic lives, and Ben Affleck plays this character to a tee. There are also the ludicrously bitchy and snobby girls (Parker Posey), the perpetually nice and perky girls (Michelle Burke), and the kid who comes to parties "to drink some beer and kick some ass." (Nicky Katt)

This movie is funny because it is so true. High school is pretty much the same regardless of decade or location. You have your jocks and your intellectuals, your snobs and the kids who are nice to everybody. In that way it's like real life, but in real life you're not bound together with 800 other kids you grew up with and who know your entire embarassing life story.

This movie depicting only one day in the life of a high school student is hilarious and touching. Though it will make you laugh out loud, it will also bring back memories of feeling inadequate or ugly that were magnified by the clausterphobic setting of high school. This movie features some stellar performances by actors who went on to become very famous. Though the characters in this movie could have gone to school at any time period in the 20th century, the 70's setting adds to the hilarity. Dive into this world of bell bottoms, bongs and Black Sabbath and try not to cringe when you recognize yourself or your friends in the wonderful cast of characters.

Smoked out hilarious
Ok, being born in 1974 I never got to experience the weirdness of the '70's. I've longed to live in the days of bell bottoms, platforms and the beautiful women with the straight ironed hair. This is one of those movies that captures exactally how I perceive the mid 70's to be. This film is about, well, graduation night and future freshmen and seniors. They basically go around smoking weed and trying to terrorize the up coming freshman. The line up is an all star cast of who's who in movies. Ben Afleck, Mathew Mcconaughey, Jason London and Milla Jovovich.

This is a film that takes a comedic, yet precise look at life in 1976. The music is absolutely awesome and the dialogue will keep you laughing from beginning to end. You get the guy that's always doped up, the jock, the preppy little bi**h and the freshman who wants to fit in. It's hard to describe just what this movie is about because it is really about nothing. One night in 1976 would have been just as good a title as "Dazed and Confused". I love this film. If you enjoy great humor pick this one up.

WOOD-A-BEEN, HAPPENIN'
Finally, a DAZED AND CONFUSED special edition. This is one of the best comedies ever made. Some people find it boring and plotless, but they're just unable to appreciate the honesty that comes along with the movie. Whenever I watch this movie, I watch the whole thing, no scene selections. There is just something about this movie that makes you feel comfortable. It is probably the familiarity that accompanies each of the characters that reminds you of people that you know. There is also something about the feeling of following the characters from the end of their last day of school into the party and concluding on the next morning. There is a feeling about joining the party that makes this movie watchable at most any time. You can feel like you are in the movie, and there is something about it that just wants to make you have fun or go hang out with your friends. People who haven't seen this movie will also be surprised to see the a lot of the cast, which includes many now-famous actors. This cast includes Jason London, Ben Affleck, Rory Cochrane, Mila Jovovich, Matthew McConaughey, and, well there is too many, but believe me, if you remember high school, or you like comedies and you haven't already, you have to check this movie out, and watch the whole thing. It is also good to watch it with a friend so you have someone to talk to about it. An unforgettable set of characters, some good jokes, an unforgettable party, and finally, some special features to go along with the movie. I was one of those people who was told about the movie from a cousin and I picked up the DVD (old one with no special features) and it became one of my favorites. The thing that surprised me was that nobody really knew about it, except for some older people, because the movie was like AMERICAN PIE when it came out. This special edition will definitely get some new recognition. The only thing that pisses me off is that when this special edition does come out, new people are gonna see it and they are gonna act like they discovered it, like I haven't seen it before them. That is gonna suck, but it is gonna be worth it when I see those special features. I hope they have some behind-the-scenes footage or a reunion of the cast or something. By the way, Richard Linklater is a genius who writes with honesty (he also directed this movie). I am gonna buy WAKING LIFE (also starring Wiley Wiggins), BEFORE SUNRISE, and see BEFORE SUNSET. If you liked this movie, you'll probably like DETROIT ROCK CITY and ALMOST FAMOUS. Those movies are good, but we'll get to those later. DAZED AND CONFUSED is a movie you gotta check out. I can't wait for this special edition. You'll also like AMERICAN PIE, THE GIRL NEXT DOOR, and a lot of other comedies with honesty. By the way, I forgot, there is some stupid dialogue in the movie, but it is overweighed by the good stuff, and you won't notice it until you have seen the movie around three or four times. By the way, that doesn't mean I think that the movie is stupid or anything, I can say that because I am a big fan, and I still really like that movie. Plus, you've got to take some stupid jokes along with every good comedy. Anyway, my hands are starting to hurt, and I'm running out of ideas. DAZED AND CONFUSED is one of the greatest comedies ever made. This isn't the only move coming out with a special edition. There is MEET THE PARENTS and a bunch of other UNIVERSAL movies coming out with special editions.

Hilarious!!
This comedy is a scream!! It perfectly captures high school in the 1970s - if you were in school then, you'll recognize everyone in this film as someone in your class. Every detail is perfect - the clothes, haircuts, parties, parents, attitudes, cars, everything. And unlike many teen movies, it doesn't pretend to be heavy or deep - its just and all out good time. I could not stop laughing, watching it, and the soundtrack is awesome.

Looks like someone's smoking the reefer...
I saw this movie and was certainly surprised at how different from its peers it is. "Fast Times at Ridgemont High" is deep, and certainly funny, but it lacks that underlying tone of what will happen to the kids once they get out of school. "American Pie" is hilarious, but it's too bogged down by clichés. "Dazed and Confused", however, finds the perfect middle ground. Set in Austin, Texas, on the last day of school in 1976, the film follows a rouges gallery of colorful (if not fun-loving) teenagers who plan to spend the afternoon and night having as much fun as possible, and that's an understatement. The story itself is very simple, yet captivating and intriguing. Each teen spends his/her night doing something different, yet they all eventually convene at the party at the moon tower. It's like a combo of a day-in-the-life movie, an in-depth character study, and a great teen comedy. And it is of course the comedy that more then any thing explores the alienation and unsettling nature that teenagers feel, regardless of age or timeframe. We see this through such lines as: "I came here tonight to do two things: kick some ass and drink some beer. Looks like we're out of beer!" and "If I ever refer to these as the best years of my life remind me to kill myself." That captures how these kids feel about school, and about life. Cause hey, you want the best years of your life, forget high school. Try college ... Read more

Amazon.com essential video

To many, Brief Encounter may seem like a relic of more proper times--or, specifically, more properly British times--when the pressures of marital decorum and fidelity were perhaps more keenly felt. In truth, David Lean's fourth film remains a timeless study of true love (or, rather, the promise of it), and the aching desire for intimate connection that is often subdued by the obligations of marriage. And so it is that ordinary Londoners Alec (Trevor Howard), a married doctor, and contented housewife Laura (Celia Johnson) meet by chance one day in a train station, when he volunteers to remove a fleck of ash from her eye (a romantic gesture that, perhaps, inspired Robert Towne's "flaw in the iris" scene in Chinatown).

It so happens that their schedules coincide at the train station every Thursday, and their casual attraction grows, through quiet conversation and longing expressions, into the desperate recognition of mutual love. From this point forward, Lean turns this utterly precise, 85-minute film into a bracing study of romantic suspense, leading inevitably, and with the paranoid, furtive glances of a spy thriller, to the moment when this brief encounter must be consummated or abandoned altogether. Decades later, the outcome of this affair--both agonizing and rapturous--is subtle and yet powerful enough to draw tears from the numbest of souls, and spark debate regarding the tragedy or virtue of the choices made. A truly universal film, with meticulously controlled emotions revealed through the flawlessperformances of Howard and Johnson, and an enduring masterpiece that continued Lean on his course to cinematic greatness. --Jeff Shannon ... Read more

Reviews (32)

Encounter Brief Encounter
1946's Brief Encounter, directed by David Lean (of Doctor Zhivago fame, which he would later direct in 1965) is a great film full of subtlety, romance and melancholia. Shot in black and white, this film is almost a signature of the 40's, as was the more popular and successful Casablanca. Without mention of World War II, this film deals with internal struggles of the heart. Cecila Johnson stars as the romantic heroine, a married woman and Trevor Howard the love interest, a married doctor. Though it's apparent they are disenchanted with their marriages and they are in love with each other, they never fully give in to a passionate affair. It's a romance that is mostly feelings and emotions, furtive glances, sighs, talk and regular meetings that are brief in a train station.

David Lean is experimenting with many techniques, particularily intimate angles and interior monologue. No film can ever top his Doctor Zhivago, but this film is at least second best and good for its time in 1946. There is a particularly impressive scene in which the lovers are interrupted and Celia Johnson's character must take a train trip with a very chatty, annoying woman friend. The older woman chatters away and we tap into Celia's thoughts. "I wish she would stop talking.. I wish she were dead" (I thought this was hilarious because we are wishing the same thing by that point)....but then she reprimands herself and comes to the conclusion, after a tiring day, that life does not last, that nothing really lasts forever, neither happiness nor despair. It's very poignant. Another reason besides the great acting and the story itself is the fact that Rachmaninov's Piano Concerto No. 2, regarded as his finest, is played in this film. The dramatic, romantic storm that is the first movement, followed by a melancholy adagio, is very effective for this type of film.

David Lean's well kept secret.
When you hear the name: David Lean, one will probably think LAWRENCE, Bridge on the River Kwai, etc...never Brief Encounter. I am not saying that Lean's other films are bad...they are excellent but Brief Encounter is different. It is his best film, as far as I am concerned. I am huge film fan. I cannot usually watch movies two days in a row, but I could watch this one every day of the year. This film is perfect in every way. Noel Coward is a brilliant screenwriter and this is one of the best screenplays ever writen. This film was voted 2nd best British film ever made under The Third Man (which I also love and Trevor Howard was also in). I am shocked that this was left off of the AFI List...a film of such perfection is so rare and underrated that it is sad that this beautiful film has been viewed by so few. Sparkling, moving preformaces given by both Celia Johnson and Trevor Howard. I love Rachmaninoff's Piano Concerto No. 2 in C Minor, but only the version in this film. I loacted a CD on this website with this version on it. It was done by Eileen Joyce. Search for her name under music and you should find it. Celia Johnson was very convincing and her voiceovers and facial expressions were superb. The way the start the film out at the end and she retells the story is brilliant. The editing is even perfect. This film is very realistic...it seems as if David Lean just went out and found some two average nobody's and filmed it. This isn't like Rita Hayworth and Cary Grant in some Hollywood love stor