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Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives U.S. troops in the field a morale boost (while upsetting military brass). Based on the real-life experiences of deejay Adrian Cronauer, the film is actually more concept than story: put Williams in front of a microphone and let him go nuts. Still, the surrounding stuff about the influence upon Cronauer of the endless deaths among his listeners--as Cronauer tries to stay funny while feeling the mounting losses--is affecting. Williams got a much-deserved Oscar nomination for his work. --Tom Keogh ... Read more

Reviews (34)

funny comedy, so-so drama
This flick really put Robin Williams on the map, and deservedly so- he's freakin' hilarious in this movie! Good acting jobs by all major roles; Forest Whitaker also does nicely as the "protege".

However, the fault of this movie is where it tries to be serious. Williams's politics are thinly veiled, as the only people who oppose anything he does (VC's, bully GI's, "the brass") are stereotypes. Nothing Haup or Dickerson say or do is ever pleasant or reflective of any redeeming qualities whatsoever. In addition, after picking oneself up from the floor from laughing at Williams's brilliant jokes, one can step back and understand (empathize?) why people might not have liked such comments as "If it's being done well, here or abroad, it's probably *not* being done by the U.S. Army!" Now, maybe that's true, maybe it's not, but a lot of people work (and worked) very hard to be sure that what the U.S. Army did is/was done well, and these people wouldn't be the jerks that Dickerson and Haup (sp?) are in this film if they took offense to a deejay like Williams's portrayal of Cronauer.

In short, watch this movie and enjoy the humor, but think twice before taking any sort of "deeper meaning" more seriously.

He bucked authority and won the hearts of the soldiers
Starring Robin Williams as Airman 1st Class Adrian Cronauer, this 1987 film is loosely based on a real radio DJ whose outrageous sense of comedy bucked authority and won the hearts of the American soldiers in 1965 Vietnam. The audience never learns much about Cronauer's character as there is virtually no back story. He is just set down in Vietnam at a time in history when the American police action is about to escalate. When he gets to know the Vietnamese villagers, however, his character slowly changes. Of course there is conflict with his very uptight superiors which adds to the comedy. Eventually though, the story becomes more complex than the comedy and, at film's end, Cronauer has become more mature and wiser.

I found myself giggling at the jokes, but eventually the comedy all had a certain sameness. However, I did get into the story. There wasn't much military action, only some strong hints of what was to come. Wisely, the film focused on the characters and portrays the Vietnamese villagers as real people who Cronauer teaches to curse in American slang and with whom he plays baseball, using mangos as the ball. This is a good video, lighthearted and yet with a message. Robin Williams' performance is excellent. And, although some of the action was a little too slow for my taste and the comedy ran thin early, I still do give it a good recommendation.

Gooooood Moooooorning Amazonnnn!!!!
Robin Williams, one of my favorite actors, is great as the crazy DJ who shakes things up for the soldiers of Vietnam. With his ability to do so many voices, love the Cronkite, and also his talent to convey some of the most diverse emotions, Robin Williams leads the movie. William's character is a radio dj, as I mentioned, who seems in his own world, and happy with it. Yet, with the violence of vietnam but also it's appeal, which to him is the Vietnamese people themselves, he is torn. One of the more uplifting stories about Vietnam this movie is very good and very funny, as only William's, even early in his career, can be.

Morality Charged Comedy
When Williams gets to do his stand up bit behind a mike as a Vietnam War disc jockey the results are hysterical. However, when the movie timidly ventures out from the safe confines of the airbooth, the movie seems ungainly. Williams' Adrian Cronauer is actually kind of a jerk. A funny jerk but a jerk. Being uncooperative, giving people a hard time and being a smart alecked rebel-without-a-cause seem to his modus operandi for the 1st 2/3 of the movie. The movie seems to be trying to tell us the Vietnam War was bad and sad, censorship is bad, mean people suck, many people in influential positions are self-interested jerks and the Vietnamese citizens were just people like you and me. I couldn't escape the impression that the scritwriter was much more interested in making a Robin Williams Movie than in showing any real interest in the Vietnam War.

Wakeup Call, Williams Style.
1965 was the year when, as a result of the Congressional Gulf of Tonkin Resolution, American military buildup in Vietnam began in earnest, and troop strength grew by a factor of no less than eight; from 23,000 at the beginning of the year to roughly 184,000 at the end. 1965 was also the year when a new AFN DJ arrived in Saigon, which over the course of that same year would transform itself from a sleepy French-Vietnamese colonial town into the nightmare it has since come to be in the memory of countless vets.

The new DJ in question was Adrian Cronauer; fresh from an assignment in Greece.

While the idea for a fictionalized account of his Vietnam experience was Cronauer's own, fueled by the popularity of "M*A*S*H," the script for Barry Levinson's "Good Morning Vietnam" was ultimately penned by screenwriter Mitch Markowitz with only some input from Cronauer himself, who has since gone out of his way to underline the fictional nature of the account and stress that his true stance was not so much anti-military as "anti-stupidity." Thus, the film has to be taken with a considerable grain of salt; both as far as the portrayal of 1960s' armed forces radio and as far as the movie's plot is concerned. But that doesn't make it any less poignant; nor does it take away one iota of Robin Williams's performance as Cronauer: Indeed, the role of an irreverent, unstoppable DJ seemed tailor-made for Williams, who had burst onto the scene with his inimitable brand of lightning-quick ad-libbing ten years earlier in "Mork & Mindy" - and of course, all of Cronauer's hilarious broadcasts in this movie are ad-libbed, too.

The film follows Adrian Cronauer from his arrival in Saigon in the spring of 1965 to his forced departure about a half year later (although the real Cronauer in fact stayed for a year and was not forced out but left when his regular tour of duty was over). While a comedy, and although not trying to be anywhere near the "definitive" take on Vietnam, it does take a close look at the year when the conflict escalated and, in particular, at the resulting toll on human relations. Robin Williams earned his first of to date four well-deserved Academy Award nominations for this role (the others were for "Dead Poets Society" [1989], "The Fisher King" [1991] and "Good Will Hunting" [1997], the movie for which he finally scored on Oscar night). And in his inimitable way he provides pointed comic relief not only over the microphone but also, and always with a unique ear for the situation's mood, whenever the script would otherwise threaten to veer off into melodrama; such as after his discovery that his Vietnamese friend Tuan is actually a Viet Cong fighter named Phan Duc To ("It's unbelievable. Five months in Saigon, and my best friend turns out to be a V.C. This will not look good on a resume!!"); and in scenes that would otherwise be burdened with a bit too much cliche and/or deliberately funny writing, such as the conference after Cronauer's first broadcast, where Bruno Kirby (Lieutenant Hauk) gets to deliver such gems as "Don't say that the weather is the same all the time here, because it's not; in fact, it's two degrees cooler today than yesterday" and "I hate the fact that you people never salute me - I'm a lieutenant, and I would like salutes occasionally. That's what being a higher rank is all about." Even if Kirby himself gets to make up for these a little later in the same scene with the comment "We are not going to escalate [Vietnam into] a whole war so we can get a big name comedian" (Bob Hope who, as the men have informed him, does not "play police actions"), it takes Williams's/Cronauer's final weaving of the lieutenant's preferred abbreviations into a single sentence to truly put the finishing touch on the scene.

Although "Good Morning Vietnam" is clearly first and foremost a star vehicle for Robin Williams, he is joined by an outstanding supporting cast, including inter alia, besides Bruno Kirby, Forest Whitaker as Cronauer's good-natured sidekick PFC Montesque Garlick, the ever-reliable J.T. Walsh as his second great nemesis, Sergeant Major Dickerson (whose stock character of a straight-laced white middle class guy would probably not have come off convincingly as a villain vis-a-vis anybody *but* Robin Williams) and, in particular, Tung Thanh Tran as Tuan and Chintara Sukapatana as his sister Trinh: Her plea with Cronauer not (even) to seek her friendship, let alone more, because for her such an association with a man (particularly a foreigner) is culturally unacceptable, is one of the movie's most quietly powerful scenes. Exceptional is further Peter Sova's cinematography, which convincingly captures the daily realities of a city and a country on the brink of an all-out war, and is brilliantly complimented by the editing, which in turn also uses the soundtrack - more or less a mid-1960s "greatest hits" compilation - to maximum effect; be it in framing daily military routine, the soldiers' enjoyment of Cronauer's style of broadcasting or combat action: Indeed, hardly any image could make a more powerful statement on the cruel absurdity of war than seeing a village blown up to the tune of Louis Armstrong's "It's a Wonderful World."

Thus, "Good Morning Vietnam" is in its own way as poignant a wakeup call as any other movie about Vietnam - or about World War II, or any other war for that matter. It deservedly netted the Political Film Society's 1989 Peace Award, in addition to Robin Williams's Oscar nomination and his Golden Globe and American Comedy awards, as well as the movie's ASCAP soundtrack award. And it certainly bears revisiting - for its overall quality, for Robin Williams's performance, and also for lessons learned and deserving never to be forgotten. ... Read more

Reviews (59)

The "almost" Atomic War anti-fable...
The bleak black and white ...sometimes grainy, occasionally jump/jolt cut film...combined with understated dialogue, few special effects and no dramatized combat sequences produce a movie with a ONCE-UPON-A-NIGHTMARE quality. Henry Fonda is excellent as THE PRESIDENT who must convince the never-shown Soviet Premier not to unleash a retaliatory strike against The United States when a squadron of American Vindicator Bombers (decommisioned B-58 Hustlers) threatens Russia because of a computer/Black Box glitch. Walter Matthau is fascinatingly repellant as THE PROFESSOR...a Herman Kahn/Dr.Strangelove clone... who glories in his role as high-priest/adept of Nuclear Deterrence strategies. A young Larry Hagman is memorable as Buck, the President's Russian language translator. Dan O'Herlihy is convincingly tragic as an Air Force commander who must make "the sacrifice of Abraham" to save the world from WW III. There is not a single "mushroom cloud" shown. Combat actions are reduced to electronic displays on the War Room/SAC Big Board. Many opportunities for "thrills" are foresaken by Director Lumet. Instead, he relentlessly paces his "almost" Atomic War anti-fable until a telephone monitored by the US Ambassador to Moscow howls:..this tocsin signals the death of millions and the beginning of Armageddon. There is no such thing as FAIL-SAFE. The film is 40 years old. But like fable, the "sermon" speaks to today, tomorrow and...probably?...para siempre.

Brilliant, chilling "what-if" Cold War film.
When machines break down and accidentally unleash the nuclear genie out of the bottle, it's up to the President(brilliantly played by Henry Fonda) and his top military and government officials to prevent all-out war. Tensions heighten when military men like Colonel Cascio(Fritz Weaver) crack under the strain; a civilian "hawk" (Walter Matthau) argues for total committment while a military pacifist General(Dan O'Herlihy) adamantly insists that unleashing the H-Bomb would spell the end of the world. When it becomes clear the B-58 Vindicator Bombers mistakenly sent against Moscow will reach their target, the President must make the gravest sacrifice to prevent Armageddon. Lumet's directing and the all-star cast bring to life a nightmare situation that almost happened a number of times in real life. Well worth your viewing!

Fantastic!!
I've seen this movie at least 10 times, always on late night TV, and it still gets me every time. Right up until the last minute your'e hoping that all will turn out well, but of course it doesn't. It's curtains for 1964 New York, with it's World's Fair, Ed Sullivan, the Peppermint Lounge and My Fair Lady. Previously Moscow of course meets a simular horrible fate. But what a fantastic movie, full of drama and suspense. I'll never forget the reaction when the first plane is shot down, and the man who reminds them "That wer'e not at a football match" There are so many powerful scenes throughout the movie, too many to list here. It deserved a lot better recognition that what it got at the time. See it!

LIBERALISM IN HOLLYWOOD AND A TERRIBLE ENDING
In 1965, a serious nuclear movie called "Fail Safe" was released. Henry Fonda is the President. A computer glitch launches The Bomb for the U.S.S.R. Fonda cannot recall it, and apologizes to the Soviet premier. His wife is visiting New York City, and in one of the worst political decisions in Hollywood history, Fonda tells the Soviets that in order to prove to them it was an accident, he will drop a 30-megaton nuclear bomb on the Big Apple! He carries through with his decision, despite his wife's presence there. The Soviets are portrayed as suffering their fate with dignified resolve.

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

Incredibly serious and thought-provoking
The main theme of this film is that, with all of the tensions and pressures of the Cold War, and the rapid advancements in weapon development, things could go very wrong, very fast, and become unstoppable. When a drill becomes a false alarm that gets misread by some as a true Soviet nuclear attack against the U.S., American bombs destroy Moscow in "retaliation" and "counter-strike". The President and the Soviet leader try to find a way to prevent full-scale nuclear war, despite decades of mutual distrust. A radical solution is eventually found.

I was born in 1960 and, while that was after the McCarthy era, I grew up with the idea that Soviet Russia might attack at any time. This drama accurately depicts the fear, tension, and suspcion that permeated that time. It is harsh but well-done. ... Read more

Reviews (77)

Fantastic movie, intense.
This movie is one of the best movies I've ever seen. Michael Douglas and Glenn Close give life to this stylish, sexy and famous movie that was nominated for 6 Academy Awards.
The story is about a man named Dan (Douglas) who is happily married with a 6 year old son. And one day he meets Alex (Close) in a party and few days after when Michael's wife goes to the country with their son. Dan meats again Alex again in a meeting and they have an intense affair during those days.
It was all meant to finish there, as an affair but Alex falls helplessly in love with Dan and doesn't want to let him go.
Dan's wife returns from the country and he refuses to answer Alex's phone calls and messages but Alex is desperate to see him again and she even cut her veins to make him stay. The whole nightmare starts there and Alex won't stop until Dan belongs to her...
You will be watching this movie without closing your eyes beacuse it's full of suspence.

Almost
Except for the final scene (which I suspect was "borrowed" from Henri-Georges Clouzot's Diabolique), this is a solid film. In it, Director Adrian Lyne examines the consequences of a one-night affair involving two very attractive people, Alex Forrest (Glenn Close) who is single and Dan Gallagher (Michael Douglas) who is married and a parent of young children. While Beth Gallagher (Anne Archer, also "borrowed," from Jack Ryan) and the children are visiting her mother, Dan unexpectedly finds himself having drinks and then dinner with Alex. They feel an immediate and powerful sexual attraction to each other. Later, they spend the night in her loft apartment. Insofar as he's concerned, it was a memorable night, thanks ever so much, but that's it. Alex reacts differently, at first asking and then demanding that they continue the relationship. She even claims to be pregnant and at one point attempts suicide. Of course, all this is not what Dan had in mind but Alex forces him to recognize the significance of his adultery.

The acting is consistently strong but the screenplay allows for almost no character development, nor are the nature and extent of Alex's psychological problems ever revealed or even explored. Obviously, she is lonely and delusional as well as envious of the lifestyle Beth and Dan share. Only an actor possessed of Glenn Close's talents and temperament could reveal (albeit only in brief moments) Alex's tenderness which helps to explain her vulnerability to both real and perceived grievances. After seeing the film again, I still think the final scene in the upstairs bathroom doesn't work. In fact, I think it detracts from the narrative development which precedes it. On balance, however, Fatal Attraction offers solid entertainment even as it raises (at least in my mind) questions about the two main characters and their relationship which, for whatever reasons, Lyne and/or his screenwriters do not address in the film.

Hence my interest in the special features provided with the DVD version. They include a commentary by Lyne, "Forever Fatal: Remembering 'Fatal Attraction'" (which offers new, exclusive cast and crew interviews), "Social Attraction" (an analysis of the cultural phenomenon of a fatal attraction), "Visual Attraction" (a behind-the-scenes production featurette), rehearsal footage, and the alternate ending introduced by Lyne.

Delicious
A horrific account of of bipolar/borderline personality disorders, this film is guaranteed to chill the spines of men who've had to deal with crazy and obsessive women. Close is dead-on in her portrayal of an insane, clingy woman who will not leave her target alone. The dialogue is also not cliche-ridden, and is to the point and realistically simple. The other characters seem real enough, and we really do feel for the husband she's stalking.

The harrassment is also well done, with each unsettling
phone call, visit, and other annoyance just adding to the
tension.

This is one of Lyne's masterpieces, full of
rich color and controlled, careful direction. Fans of his intense artistic visions are also advised to get
Jacob's Ladder on DVD.

fatal attraction
This movie was well made. It had a good plot and story line. I was very dissapointed in Glenn Close. I used to like her as an actress, but she played a very terrible person. I just cant beleive she would star in a movie like that. Otherwise a good movie

What a DVD should be...
Inexpensive, awesome DVD package of the classic suspense drama. Attention, studios: Take a lesson from whoever put this one together for Paramount. It not only is a great screener of the 5 star film, but it has all the bonus features you want from a DVD, with ample participation from the talented cast and crew.

A definite must have for your movie collection. I bet you'll prefer the director's original ending, too....even as satisfying as the other one is! ... Read more

Description

For the first time in ages, Jean (Judi Dench) and Lionel (Geoffrey Palmer) have the house to themselves, which spurs them to look back at nine years of love and laughter. Flashbacks of meetings, partings, comedy and romance are all beautifully woven into a poignant tapestry of memories. Join Jean and Lionel as they remember the best of As Time Goes Byin this exclusive special. ... Read more

Reviews (6)

As Time goes By -You Must Remember This
We avidly have viewed the first six seasons as they have been released on DVD - I was disappointed with this offering only because it covers series not yet released on DVD/VHS and eliminated any element of surprise regarding the forthcomng romances of Judy and Sandy. We started to view this DVD but decided to wait until they release the final three seasons to "Remember this"

Three great bonus episodes
I rented this first from Netflix to see if I wanted to buy it. I was delighted with it. It was fun to have them reminiscing with clips from the various seasons. The three bonus episodes are excellent choices to have included. I'm buying this for my father who has enjoyed all the episodes for years on PBS. I know he'll love this as one of his first DVDs.

Excellent
When I got this, I immediately put in in the DVD player and started watching. As Time Goes By is quite possibly one of the greatest television shows of all time. I was extremely happy with this DVD, and I don't understand why other reviewers didn't like it. I thought it was worth the money.

Dissappointing
I am an avid fan of "As Time Goes By" and i was dissapointed when i got the "You Must Remember This" VHS. I felted betrayed that it included scenes from episodes that are hard to find available to purchase. So the story wasn't really complete for me. I agree with one of the other reviewers who said that the producer's time would have been better spent by doing more seasons. Another thing i have to admit was weird, was that there was no laugh track, it was just silence after the jokes, i'm just use to having it. i would like to get the episodes i missed, to complete the story, esp the love story between Alistair and Judy. Oh well.

Postview of previous attractions
Would that the producers would have spent their time and energy on season SIX, SEVEN, and EIGHT of this truly great Britcom series than to waste their time producing this overview of past glories. AS TIME GOES BY is by my way of thinking the BEST of all the Britcoms that have come across the pond. GIVE US THE REMAINING SEASONS rather that this "Best of . . ." abbreviation. It may be a good introduction for those who have not seen the series on TV but your money is better spent on buying one of the seasons already available on DVD or catching whatever you local PBS station may be using as a filler in its broadcasting schedule. Go for the full blown series, you won't be disappointed. ... Read more

Description

The film that launched successful careers for Kevin Bacon, Ellen Barkin, Paul Reiser, Mickey Rourke and more! It's a lively, poignant tale of friends trying to recapture their lost innocence in 1959 Baltimore. ... Read more

Reviews (34)

Barry Levinson's first and best film
Barry Levinson has been hailed as a great director on the basis of such films as Rain Man, Good Morning Vietnam and Bugsy. Diner is where his career began and remains the best film in his entire catalogue.

Diner takes place in Baltimore in the 1950s and tells the story of five young men hanging onto their high school antics by the skins of their teeths while coming to terms with fast-approaching adult responsibilities.

College, work, marriage, and responsibility in general threaten the quality time they spend hanging out at the Diner, discussing "What's on the B-Side?" and "Who's better: Sinatra or Mathis?" (The answer, of course: "Presley").

The film's laughs originate from its good ear for dialogue and the fantastic acting, which at times appears to be improvised. The film's young actors include Daniel Stern, Mickey Rourke, Kevin Bacon, and Steve Guttenberg in the collective high point of their careers.

A thought-provoking and laugh-out-loud masterpiece.

We'll always have "Diner," and hooray for that!
What is really interesting about Diner is that it came very early in the career of its director and actors, yet although most of them have had monster hits since then, they have never surpassed their achievement in this movie. In none of his other films has Barry Levinson made his slice-of-life Baltimore milieu seem so cohesive, so moving, or so hilarious; in no other films did Mickey Rourke and Steve Guttenberg--who looked like nascent superstars in 1982 but squandered their early promise--come across with such charisma and charm. Even the preponderance of actors from this movie who went on to huge success--Kevin Bacon, Ellen Barkin, Daniel Stern, Tim Daly, Paul Reiser--reached a personal best in "Diner." In a way this is the ultimate "guy flick"--concerned very much with the way guys talk, think, and react to each other and to women--yet there's enough humor, tenderness and humanity in Levinson's vision to make this an excellent choice for any audience. It's interesting to note that Stern also starred in "Breaking Away," another classic sleeper comedy about young guys hanging out and trying to forget the future. The two flicks would make a great rental double bill!

"Are you going to eat that?"
The first time I saw this film was as a teenager with my mother. Kids, learn from my mistake--DO NOT watch this film with your parents. I still have nightmares about the "Popcorn Scene."

I decided to watch Diner again recently, since I had little recollection of it. Given all of its critical acclaim and somewhat cult-status, I'd say I felt just a little let down. Really, I do mean a little:
--the storylines were interesting, but not fascinating;
--the "witty banter" at the diner was fun, but could have been better (think the coffee shop scene in Reservoir Dogs or the foot rub conversation in Pulp Fiction--now THAT's funny).

I think part of the reason for all of the accolades is that the film's "free-form" style was somewhat groundbreaking in 1982. It has been done better several times since then. Overall, I'd say this is a solid, entertaining film. Great? Nah.

As delicious as fries with brown gravy
DINER has been receiving a lot of unkind remarks in recent years, and much of it is undeserved. Time is really what has been unkind. In 1982, after years of hippie doldrums, disco ho-hum, and punk self-destruction, Barry Levinson reached back to a different era which seemed like a simpler one. But he did so without a nostalgic eye. He presented five young men at a point in life when hard decisions have to be made. To compound this, each of the five young men are facing critical issues at this critical time. (Notice I say five men, not six. Modell [Paul Reiser] doesn't have a plot line. He's there for comic effect mostly.)

Boogie (Micky Rourke), his gambling problems aside, struggles to keep his dreams but must learn to accept the responsibilities of life. The intellectual but alcohol-plagued Fenwick (Kevin Bacon) must face-down his crusty, aloof family once and for all. Shreevie (Daniel Stern) must learn to translate his love for love songs for love for his wife before his marriage completely evaporates. Mama's boy (with a twisted mama), Eddie, (Steve Guttenburg) who has no real excuse for treating his fiancee so badly, is the most desperate in need of growing up.

To me, Billy (Timothy Daly) has the most poignant of all problems. He's willing to face up to his responsibility; he's willing to do the right thing. In one scene, where he decks the last opposing player of a baseball team that had ganged up on him, he essentially has put his boyhood behind him. What's standing in his way is the woman carrying his child but won't marry him. (She has good reason, by the way, for being reluctant.)

But comedy is watching other people struggle with their problems, after all. To me, the more believeable the problems (and they are believeable) the more effective the comedy.

Levinson squeezes so much humor out of these characters, and the actors deliver beautifully. The ease with which the cast interacts makes the viewer wonder whether they had been friends for years before making this film. Unlike other comedies of the early 80s--the infamous one-liners strung together--DINER's tangle of plot lines grows logically; it progresses as a result of the characters, not the situation. And while the film ends, according to true comic convention, with a wedding, it is the only traditional aspect of the film. It was truly unique for its time. And perhaps the time will come again when people will appreciate the value of this movie.

Far from excellent
This is one of the top 100 comedies, according to the American Film Institute, but I hardly laughed at all. I enjoy many comedies, but this one had few funny moments. Plus, I could not stand Mickey Rourke; is he always this annoying? And the rest of the actors are far from great ones. Where did the idea of calling this a classic come from?

The only reason I'm giving this 2 stars is because the film itself was made fairly well. It did have a 1950's atmosphere, but other than that, I was highly disappointed. ... Read more

Description

A trumpeter thinks his life is complicated when he must choose between his two girlfriends, but things get worse when he is called upon to come to the aid of his manager and childhood friend. ... Read more

Reviews (26)

Not perfect but far from a dud
The music clearly is the star of this film. Mixing avant garde jazz with more standard fare and doing it successfully. You love music, you love this film. The film itself is worth watching too. The usual expert and hardworking performance from the very photogenic Denzel Washington. Cynda Williams is so sexy I wouldn't care if she couldn't act (but she is a competent actress). Spike Lee (properly speaking, his long-time cinematographer Ernest Dickerson) is an artist and the way he photographs his scenes is always a pleasure. This is a better story than some of his other films. Don't see how a real lover of cinema could hate this movie.

A genius musician battles his inner demons.
This is a masterpeice. Bleek Gilliam is a talented musician and the leader of the Bleek Gilliam quartet, a famed jazz band in New York. Bleek has a problem. He has three loves in his life. He is forced to choose between his two worshipful lovers - Indigo and Clarke, and his true baby - his music. Further complicating his life are his lifelong freind and mooch - Giant, and his bandmate, Shadow. Giant is in and out of trouble, and Shadow longs to move out of Bleeks shadow to form his own band.

This is a visually stimulating film. Spike Lee's uses of colors and lighting creates a mood that is essentially Jazz. The ambiente atmosphere of the film is highlighted by outstanding music composed by Branford Marsalis.

Mo-Better blues is an urban tale that will strike at the heart of all. Those who are new to Spike Lee's brand of photography are in for a treat. Also be sure to check out other Lee classics Do the Right Thing, Jungle Fever, Crooklyn, and He Got Game.

Beautiful
This is one of the most visually beautiful film with African-American actors I've ever seen (another that comes to mind is Devil in a Blue Dress, also starring Denzel Washington). The opening credits are a masterful combination of music and shadows.
Overall, an enjoyable contemporary story of young, single African-Americans filmed in Brooklyn and Manhattan, a rarity for its time. They're making more of this type of film today . . . but the actors are getting younger and younger!

Nice...
I saw this film when it was released (summer of 1990). I didn't appreciate it because I was 21 (a kid who wouldn't get the major theme). I recently purchased the DVD, and I watched it for the first time in 13 years.

I really enjoyed this film. Everyone has (or has had) a Bleek in his life: someone who is so self-centered on his/her desires that he/she doesn't show respect or regard for anything else. However, we always lose the love of our life for various reasons. Then, what do you do when the love of your life is suddenly taken from you? That is this film's theme. Bleek's true love was music - jazz music. Bleek's love of music was the most important thing to him. Music overrode everything: an incompetent manager (who just happened to be his best friend), his lovers, and the contentment of his bandmates (the money issue which is related to having an incompetent manager).

I enjoyed the score and the jazz pieces included in this film (after all, Bleek played the trumpet). I really liked the cinematography in this film because the film showed the beauty of New York City - the brownstones, the Manhattan skyline (a brief glimpse), the Brooklyn Bridge, etc.

All in all, a good film. Rated 4 stars (not 5 stars because I thought the ending of the film was too rushed).

Under rated gem.
Ok Denzel is in it playing a bit of a cad. But the real news here is that this is one of Spike's better movies, unlike the forgetable Girl 6 or Bamboozled, both nice efforts but far off the mark. Wesley Snipes, who to me is always better when he plays an evil character, is wonderful in this. Denzel is a little on the flat side in this one, this isn't a Malcolm X or Training Day performance for him. Wesley is wonderful. No action hero [stuff], just a great acting job. Spike is in it as expected and does his usual in his role. Joi Lee is credable and the soundtrack is good if not spectacular. If you are a Spike or a Wesley fan, add it to your collection. If not rent it and give it a look, its worth the price of a rental for sure. ... Read more

Description

Well, there goes the neighborhood -- in a pine box. When hit man Jimmy "The Tulip" Tudeski moves into a comfy suburb, everyone's suddenly in danger of pushing up daisies. And it's not all Jimmy's doing either. Jonathan Lynn (My Cousin Vinny) directs and a talented ensemble cast packs heat in this manic comedy about life, love and plenty of ammo. Bruce Willis plays Jimmy, whose arrival sparks a chain reaction in which just about everybody wants to clip somebody else. Matthew Perry plays a hapless dentist who finds a way to get on the Tulip's good and bad sides. And Rosanna Arquette, Michael Clarke Duncan, Natasha Henstridge, Amanda Peet and Kevin Pollak add to the yards of wacky and whacked fun. ... Read more

Reviews (147)

Great Mob Comedy
About a hitman named Jimmy "The Tulip" Tudeski(Bruce Willis) who moves next door to an unhappily married dentist(Matthew Perry). His arrival brings about many wacky occurences, and I must say they were extremely hillarious. The DVD is presented in full screen or widescreen. It also has a nice Dolby 5.1 sound mix, although this isn't one of those movies that sound is important in. The DVD has some cool features such as a feature-length audio commentary with director Jonathan Lynn, an interview gallery with the cast, a trailer, filmographies, and some nifty interactive menus. Very funny movie that I highly recommend to those looking for a good laugh.

Wish I could give it 5...
First of all, I have to say that Bruce Willis is my absolute favorite actor. I own just about every movie he's been in. But I don't think I will be buying this one! "The Whole Nine Yards" has a very strange plot. Basically, everyone wants to kill Matthew Perry, but he doesn't know it. Bruce Willis' and Matthew Perry's acting are great as usual, but for some reason this movie just doesn't "take-off" very well. The plot moved WAY too fast for me - one minute I had it figured out, the next minute it was changing again. I also did not care at all for Amanda Peet. While I think she is a good actress, her character in the movie is terrible! She is actually hired by Rosanna Arquette to pose as Matthew Perry's secretary so she will have a chance to kill him! And she has this sick infatuation with mob hitmen. Personally, I think that's a little on the weird side! There are funny moments - Perry's physical comedy being the best. Michael Clarke Duncan is good, too. In short, the acting is good, but the story goes nowhere.

Cleverly entertaining
While this may not be my absolutely favorite film with Bruce Willis ,it is still great. First off, all of the acting is significanly brilliant. But consider that a bonus, the story here is what really counts. I picked up this movie expecting it to be a half-decent, but still entertaining flick (considering I picked it up cheap). To tell the truth, I probably wouldn't have bought it if it wasn't rated R. However, it is an extremely mild movie. Consider it a PG-13 movie with an extensive nude scene. Either way, I was enthralled with how great the plot was. There were so many unexpected twists and genuinely hilarious dialogue, it made the movie extremely loveable. Take my word for it and get this movie, you won't be dissapointed.

Great Out of your mind FUNNY!
This film has a great funny quality. Matthew Perry and Bruce Willis are phenominal. Bruce Willis as Jimmy the Tulip and Matthew Perry as Oz.This is a must see movie

great cast, and great humor
Loaded with a great cast of actors!!!! The movie is set in Canada, all was calm untill a hit man moves into the house next door to Nick (Matt Perry). His wife a money hungry women decides to try to see if there is a price on Jimmys head for ratting out the boss. The hit man is Jimmy "The Tulip" (Bruce Wills) he is hiding out after turning in a head mob boss. And now the son of the head boss has taken over the company and wants Jimmy dead!!!

Nick sets off on a journey set up by his wife. Nick is off to try and locate the son of the boss to let him know of Jimmy living in Canada. Now things begin to get interesting Nick actually likes Jimmy and does not want to turn him over to the new boss. Nicks problem become worse when he later finds out that his wife is trying to have him killed too. The movie has a few twists and turns that make it great to watch.

This all around is a solid movie with great humor and a great cast!! ... Read more

Reviews (86)

In both senses, a black comedy
After the terrors of "Summer of Sam", Spike Lee has come up with "Bamboozled", in which he roasts TV and the way it exploits the black population. Unhappy with his situation at a television network, Pierre knows he can be sued if he quits, thus breaking his contract, so he figures out a fail-safe solution: he'll get himself fired by producing a show so outrageously offensive it will cause a racial backlash. (It's a variation of "The Producers"; even the initial audience reaction is similar.) Pierre is a re-invented man: he wears expensive suits and greets us with "Bonjour", but about half-way through the movie we learn his name is really Peerless and his father is a second-level night club comic. Pierre is very sensitive to racial issues, and so he's convinced his proposed showcase will be a shocking failure: a minstrel show for the new millennium. Two Afro-American street performers are re-named Man-Tan and Sleep 'n' Eat and put into situations (in a watermelon patch, no less) displaying how lazy and untrustworthy Negroes are -- but, hey, great tap dancers! The two are even required to wear black face. (I assume the N word cannot be used in Amazon.com, but it's used ad nauseam in this screenplay.)To Pierre's consternation, the show is a big hit; and he is faced with the dilemma of denying his principles to court success. In fact, he has fantasies of winning everything except a Nobel Prize. One of Spike Lee's strongest points as a writer-director is providing flashy roles for capable actors. I was appalled that Samuel L Jackson's performance in "Jungle Fever" was ignored by the Academy. In "Bamboozled" Lee has provided several such oppportunities, though nothing as showy as Jackson's. At first viewing, Damon Wayans may seem a little excessive with Pierre's affectations, but look again. Paul Mooney is compelling as his father, an entertainer who realizes he's gone as far as he's going to go. Savion Glover, Tommy Davidson, Michael Rapaport, and Jada Pinkett-Smith are all good in their different roles. (Al Sharpton and Johnnie Cochran play themselves, and one can't help but wonder: did they realize they were satirized?) The big flaw in "Bamboozled", the reason I can't give it four stars, is the violence with which Lee has chosen to end his dark comedy. I think it would have been much more powerful to circumvent the deaths and have the characters, chastised, watching the devastating montage which closes the picture: the humiliations, the buffooneries, the relentless yassuh yassuh yassuh that degraded black people for generations. It's the death of the spirit that is the revelation in Spike Lee's screenplay,and he weakens that message with physical destruction.

Minstrel Shows Aren't The Only Cliche
.... Let's take as a given that some of [Spike Lee's] films are "heavy-handed". Anyone see Jungle Fever? Do The Right Thing? School Daze (oh, never mind...)? Anyone ever see or read a Spike Lee interview? He's an intense Brother who makes intense films, and true, subtlety isn't one of his strong suits. But you knew that going in.

...

In Bamboozled, as in many of his other flicks, Spike rubs your face in the problem and challenges the viewer to action, if so inclined.

This was "black comedy" in the more ways than one. Damon Wayans was an excellent choice to play the part of media corporate climber Delacroix, whose plan to stick it to The Man went cataclysmically awry. But I still believe Wayans' best work is before him. He's a talented actor who happens to be a comedian, and he just hasn't broken through the mold yet.

As with many Spike Lee joints, this film either satirizes or condemns everything in sight. In Bamboozled, he sets his sights on "wiggers", rappers and the hip hop lifestyle, the WB, UPN and the television and movie industry in general. Robert Townsend addressed similar problems about a decade before in his film, "Hollywood Shuffle". It wasn't as "heavy-handed", and there weren't any "solutions" offered other than from his grandmother, who told him to eschew portraying racial stereotypes on film for money, because after all, "there's always work at the Post Office".

Bamboozled, on the other hand, took no prisoners. From Scatman Crothers to Shirley Temple's dance routines to Farina and Stymie to Aunt Jemima to Fleishman's cartoons to "Good Times" to "In Living Color" (the reference to which was humorous in that both Wayans and the minstrel show side-kick, Tommy Davidson were cast members of that show) to "Martin" (a true minstrel show) to Jerry Springer.

Tommy Davidson is deserving of more work.

Bamboozled isn't too far from the truth. Martin Lawrence used to bug his eyes out and stick out his [behind] and show his teeth and it was a favored show in police departments throughout Ohio. Don't ask me how I know, but some of you might wanna be judicious in your application of the accelerator, if you know what I mean...

This was a better movie than I thought it would be. I didn't buy Wayan's performance for a minute, but there's some really good acting from people you wouldn't expect. That's all I'm saying.

Say what you want about the other Spike Lee joints. In this one, he was completely on point. And as with the rest, the solution is up to you.

Spike Lee's Best
This is the movie that got me turned on to Mr Lee. When I rented this movie just a few years ago I watched it 3 times and then watched it with the audio commentary. I found the movie *that* interesting. Also, the movie has a few layers to its plot so each time one watches it, they're sure to pick up on something new.

The characters are also great - I especially love Damon Wayan's boss who is a caucasian married to a black woman and tells Damon "I'm more black than you are" From that point on, you know this movie is going to put a lot of stuff in your face.

The basic premise - Damon's character is tired of the types of shows with black people that show on tv nowadays. It's all very stereotypical (think this summer's "Method and Red" on fox) and he wants to do something creative. His boss wants something along the lines of "homeboys in outer space". Damon's character is so incensed that he decides he'll get fired in order to break his contract.

What could be better for getting him fired than to make the most racist and ignorant show on tv? He decides to make a show called "Bamboozled" which will recreate the blackface shows of the 30s and 40s only it will be black actors putting on blackface. There's only one problem with his plan: the show becomes a hit.

The rest of the movie shows what happens to the rest of the characters in the style of a Shakesperean tragedy. In other words, a few things don't quite go according to plan and everyone suffers. (ie Romeo & Juliet, MacBeth, etc)

Another thing that makes this movie so awesome is the fictitious commercial spot during the show Bamboozled. Spike Lee takes a pot shot at Tommy Hilfigger's alleged marketing directed at blacks with another brand whose name I can't write or my review will be banned. You'll be shocked, but in a revealing sort of way.

Some People Just Don't Get It
I have to applaud Spike for making this film. People can argue if he is a racist or not, but on this film he showed how corporate America market their products to black inner city people. I for one used to work in a marketing department at a large corporation and this type of behavior went on all the time. So many times, I had to smile and walk away when I heard "you people" and "those people like stuff like that". What is worst is some black artists (namely rappers) help build on these negative stereotypes. They are NO different from the black actors of the 30s who was paid to demean their race. Instead of black people getting mad at Spike for making these films, I suggest you take your anger out on the real culprits and their marketing schemes. BTW, these culprits come in ALL RACES.

What I really want is O Stars...
In high school, I tried to convince our African American STudies teacher to plan a field trip to see this movie. He rebuffed me, and when I saw this movie on tape, I knew why.

I am glad that I am not the only one who knows Spike Lee is a racist. And a slick one at that. He does these movies and black people go see them (I am black, so don't attack me). Do The Right Thing was horrible, Jungle Fever (he ought to be ashamed) all in the name of "eye-opening" filmmaking. Give me a break

Bamboozled...I don't know what to say about this movie. Stereotypes, senseless violence, just downright shameful. There was no message here...except that, we, as black people, sometimes do it to ourselves (ex. Soul Plane? same problem). And helping this man, for the sake of a paycheck is deplorable.

Please spare yourself of this film. ... Read more

Amazon.com

Bruce Willis's awful, 1991 vanity piece is an abuse of audience goodwill and a waste of a good cast and director (Michael Lehmann of Heathers). The story, cowritten by Willis, concerns a cat burglar pressured into stealing precious art, including some from the Vatican. But the script is just a convenience upon which Willis piles his vaguely boorish brand of hip irony, assuming his audience will stay with him every step of the way. Certain, self-congratulatory scenes induce cringing--Willis and Danny Aiello, for instance, sing "Side by Side" (to brassy accompaniment on the soundtrack) every time they're working a job--but the overall effect is more irritating and baffling. Keep a good thought for Willis (an underrated actor better than the summer junk we usually see him in) by checking out his superior work in Pulp Fiction and his small but memorable role in Billy Bathgate. --Tom Keogh ... Read more

Reviews (93)

Almost Believed The Hype
My love of this movie began when I was home alone channel sufing. Stumbling across this film on UPN, I checked my Trusty TV Guide and found they only gave it one star. I decided to do a MST3K on this apparently rotten film. I Was unable to do so because there was one small problem. This film is the most convoluted, twisted, Hitchcokian piece of Funny stuff I've ever seen. Being of Fan of totally random stuff, I was over whelmed by the randomness of this film. A butler has Knives spring out of his Arms. Bruce willis ( as Hudson) and Danny Allieo time a burgarly with a rendition of "Swingin on a Star" The pope watches Mr. Ed. And THrough it all, Hudson just wants a coffee. You see the McGuffin of this film may be Da Vinci's Book of Fun & games, but the real driving force in this film is Hudson's coffee. This movie has many one-liners that I can say to my friends and they have absolutly no idea wher it comes from. Many other reviews talk about A Deus Ex Machina ending. I have no idea what tha is really, but the end, the beginning and yes eventhe middle are full of great stuff. Dont Listen to critics! in Some fashion. everyone should see a portion of this underated classic.

Ahead of It's Time
I, too, was one who saw this movie when it was first released (right after "Die Hard") and fell to the original disappointment. Recently, I decided I had to buy the DVD to add to my Bruce Willis movie collection because I knew it was an important movie to this artist (he created it, helped write it, etc) and I am such a fan of his talent. You can't imagine my surprise to find that watching it now, years later, I thought the movie was hilarious! It is the kind of movie that is best described as "just plain fun". My jaw hurt from laughing so hard for so long! The only explanation I have for not liking it when it first came out...but, loving it years later is that the type of humor that was in "Hudson Hawk" (Bruce Willis humor) was simply ahead of it's time! I am glad I finally caught up! Buy the DVD if possible and listen to the director's commentary to find hidden humor that surely passed by you unnoticed when you watched the movie. If you only like movie's that have twisted plots and make you think...then, this movie is not for you. But, If you like to kick back and just get lost in the fun...you'll enjoy this movie tremendously!

what the hell...
This is one of the worst movies ever made. The comedy can only be enjoyed by a preteen. An R-rated movie starring Bruce Willis with loney-toon style sound effects and all of the crappiest things you can think of. This movie is horrible. In order to like this movie you must have had a full lobotomy.

Classic film like no other!!!!
I remember really diggin the hell out of this at the theatre, despite the fact that it tanked and I was all of 12. What gets me is that- I understand why your average brainwashed zombified office drone wouldn't like this but the critics panned it too. Actually, that doesn't surprise me, given the heidi fleiss treatment they've lavished on the wretched 'Troy.' Anyway, Glad to see there's a little amazon cult of like-minded souls who appreciate the hilarious absurdity, one-off jokes, great performances, neat ideas and all around craziness this movie delivers.

Yeah, there are some plot problems and pacing is off-kilter, but heck, this film is so much fun from the first second til the end when Eddie finally gets his- no I won't ruin it... Give it a chance. I haven't perused the DVD but doubt it has much extra stuff. This isn't the kind of film the gets the redux.

If the thought of Danny Aiello, Bruce Willis, James Coburn, Sandra Bernhardt, Andie McDowell (no relation to Malcolm), a young David Caruso, and a handful of other dynamic character actors doesn't appeal to you then stop reading now. Moreover, if the thought of the world's greatest jewel thief stealing Da Vinci treasures, a Vatican spy agency, an over-the-top madman entrepreneur and his depraved wife aimed at destroying the world's economy, a corrupt CIA covert ops team called "The Candybars," doesn't pique your interest then go back to bed.

Some of the best one liners I've ever heard. They never get old. "I must speak with the dolphins now." "Just kill her- Darwin! This is supposed to be torture, not therapy." "Bettie Jo Baijarsky? I can get you an address on that." "Bunny?!? Ball Ball!!!"

If you like Bill Murray's everyman attitude in ghostbusters then this film's humor will appeal.

In summation- If you dug 'Ice Pirates,' "The Princess Bride," or any Terry Gilliam film you will probably dig this one.

ciao.

Oh, get over yourselves
I hate stupid movies. Mel Brooks annoys the hell out of me. But I like, nay, LOVE Hudson Hawk. One of the few movies not directed by David Lynch that constantly leaves you thinking "What the f___?" in the same way that "Fear and Loathing in Las Vegas" leaves you thinking "What the f___?" It's an acid-soaked Catholic caper with snappy dialogue and great Bond-esque one-liners. You just have to let go of sanity and roll with it. As for the all-knowing movie gods who panned this scategorical masterpiece, what do they call you, Ig and Ook? ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Amazon.com

Barbara Stanwyck and Burt Lancaster star in Sorry, Wrong Number, an odd telephonic thriller that starts off with a bang. Stanwyck, playing a shrill invalid, is at home alone and phoning around to find her husband. Thanks to a crossed wire, she overhears a murder plot, but she can barely get anyone to pay attention to her, let alone believe her. The rest of the film is played out in telephone conversations and flashbacks as our increasingly frightened heroine tries to find her husband and unravel the murder. Stanwyck, as always, gives a terrific performance, managing to make her character both unlikeable and compelling at the same time. Lancaster, as her kept husband, is handsome, virile, and trapped all at once. The plot, expanded to a film from a tight, dark little radio play, wanders at times but gathers itself back together for a corker of an ending. --Ali Davis ... Read more

Amazon.com

The first thing you need to know about Sleepers is that it's based on a novel by Lorenzo Carcaterra that was allegedly based on a true story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, Sleepers can be a problematic movie because it's too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, the movie succeeds as gripping entertainment, and its tale of complex morality--despite a dubious emphasis on homophobic revenge--is sufficiently provocative. It's about four boys in New York's Hell's Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there's never any doubt about how we're supposed to feel, and the screenplay glosses over the story's most difficult moral dilemmas. And yet, Sleepers grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie's New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. --Jeff Shannon ... Read more

Reviews (81)

Solemn drama gets the all-star treatment
By virtue of its all-star cast, handsome production values and solemn subject matter, Barry Levinson's "Sleepers" (1996) was clearly intended as a Major Motion Picture from the outset. Based on the harrowing true-life bestseller by journalist Lorenzo Carcaterra - first published in 1995 - book and film describe the appalling fate of four Hell's Kitchen kids (played as children by Joe Perrino, Brad Renfro, Geoffrey Wigdor and Jonathan Tucker) who, in 1967, were sentenced to confinement in the 'Wilkinson Home for Boys' following a near-fatal accident involving a hot dog vending machine which they had stolen as a prank. Inside the reformatory, all four boys are sexually and emotionally abused by a group of sadistic guards led by the sinister Nokes (Kevin Bacon at his slimiest). More than a decade later, traumatized by their experiences, two of the now grown-up boys (Ron Eldard and Billy Crudup) corner Nokes unexpectedly in a local diner and murder him in cold blood. The other members of the group - one a prosecuting attorney (Brad Pitt), the other an aspiring writer and journalist (Jason Patric) - formulate a daring plan to have their friends acquitted, expiose the reformatory's dark secrets, and take revenge on their abusers...

Such an extraordinary tale was always going to be controversial, of course, and so it proved. Upon release, book and film drew immediate fire from critics who accused author and filmmakers of embellishment and exaggeration, since no records could be found to prove that the trial depicted in the film ever took place within the Manhattan district, or that the Wilkinson Home for Boys ever existed - even though Carcaterra's book (and Levinson's script) makes it clear that most of the names, dates and locations have been changed or fictionalized to protect those involved, and that the records of all children held in institutions like Wilkinson are routinely deleted after seven years. Further scandal ensued when the movie ignited protests from those who believed the story drew unfortunate parallels between pedophilia and homosexuality, thereby reinforcing the worst kind of homophobic stereotype. The point is certainly valid, given Hollywood's shameful mistreatment of gay themes and characters over the years, but "Sleepers" doesn't seek to draw any kind of parallels, unconsciously or otherwise, merely to recreate events described in Carcaterra's book. Besides, monsters are monsters, whoever their victims may be.

As a movie, "Sleepers" is competent, briskly paced, and beautifully acted by a dream cast of old pro's (including Robert De Niro and Dustin Hoffman in key roles) and a new generation of rising stars. It's an ensemble piece, and the lack of grandstanding - in favor of narrative momentum - is admirable. But while the film is consistently intelligent and engaging, it's drawbacks are significant: The kids are terrific, especially Perrino, but the adults are burdened by the gravity of the subject matter, and Patric's sombre narration seems a little too laidback at times, lacking warmth or even genuine emotion, while John Williams' rambling score clashes resolutely with the film's epic visual sweep. Also, for obvious reasons, the moviemakers were unable to depict the kind of sexual atrocities outlined in the original book, with unfortunate consequences: Here, Nokes' murder seems more like the result of a petulant outburst by a couple of thugs, rather than the inevitable outcome of horrendous physical abuse. And during the subsequent trial, it defies belief that the prosecution's key witness - a former guard at Wilkinson - would incriminate himself so readily on the stand, as depicted here. That said, however, the movie is still a worthwhile erntry, but the book is better.

Warner Bros.' region 1 DVD - one of their first releases on this newfangled disc format - runs exactly 147:00 and is spread over two sides in a manner that wouldn't be acceptable today. The glorious Super 35 compositions are preserved in letterbox format (a little overmatted at 2.40:1), anamorphically enhanced, though the 5.1 Dolby soundtrack is fairly subdued, selling the drama without drawing too much attention to itself. There's a trailer and brief cast biographies, along with English captions and subtitles. Missing from this print is a brief intertitle which originally appeared before the closing credits, outlining some of the criticisms levelled against Carcaterra's original account.

Sleepers is an excellent, haunting tale
Rare is a movie that completely holds your attention for 2 1/2 hours but Sleepers is that movie. Played out by an exceptional ensemble cast (Brad Pitt, Jason Patric, Dustin Hoffman, Brad Renfro), it tells the tale of four young Hell's Kitchen boys who after pulling a seamingly harmless prank, are sent to a juvenile facility where they face unspeakable horrors at the hands of ther wardens. This trauma follows 2 of the boys into adulthood where they enter a life of crime. When they take their revenge on a particularly sadistic guard, it's up to the other boys, along with a childhood gal pal and a loving priest to save them. Every performance in this movie makes an indelible impression but the standouts are Deniro as Father Bobby, Frank Medrano as neighborhhod shopowner Fatman, Minnie Driver as Carol and Geoffrey Wigdor as young John. I watch this movie every November(it feels like a Fall time movie) and it never fails to amaze me. It is tense, heartwrenching, touching and at times funny. However the final 5 minutes always hit me where it hurts. When I think of how those kids were robbed of a normal life it sickens me. Sleepers is a phenomenal film that will leave a deep impression.

Supporting Characters Saved the Movie
Boys from hell's kitchen get in jail. Tortured and raped by guards. Grow up and seek a Monte-Christo revenge. The plot is good, if a little bit too straightforward.

The most interesting character in the movie by far is Father Bobby (De Niro), a 'cool' priest who is as comfortable beating up an abusive father as preaching. There's Fat Mancho who gives out street wisdom to kids; Danny Snyder (Dustin Hoffman), the lawyer who mutters as if to himself in court. These characters keep the movie interesting.

The boys themselves, however, have little individuality. And like all coming-of-age movies (American Graffiti, Stand By Me, October Sky) there has to be oldies playing, and the number of boys has to be 4. Young Carol is an underdeveloped character whom the director expects the audience to remember later on. The prison guards (Kevin Bacon, Terry Kinney) do what the plot expects them to do, and King Benny provides simple mob flick entertainment. The grown-up boys developed some characters but, ironically, even with the Monte Christo plot, one cannot help but get the sense that the boys, whose lives would have otherwise been very unextraordinary, were saved by the dramatic event.

Powerful
This is a very dramatic and gripping film. The cast is great for the movie, though Brad Pitt is underused, and Dustin Hoffman may seem miscast. But overall a very good and extremely underrated movie.

NOT FOR THE SQUEAMISH, BUT A GRIPPING FILM
Making a movie of such a controversial account that is told in the stunning book (with the same name) must have been a daunting task, especially when you fill it with A-list movie stars, some of which are not known for their sentimental sides.

However, Levinson has created a masterpiece, and a film that everyone should watch. Sleepers might've not been the most eloquent courtroom drama, and the tactics used might be unrefined, but I absolutely loved it. It showed the consequences of prison guards' sadism, which affected the boys for the rest of their lives.

All the actors give mindblowing performances, with no conceivable weak link. This includes the four child actors, who dominate half of the movie, but obviously don't receive as much press as their older counterparts. These four kids were outstanding in roles that must have been truly harrowing to play, especially the young boy who played John. Even Brad Pitt shows that under the right direction he can be more than a candy face.

Add to this a great score from John Williams, and you will come back to this film time and time again. The DVD has great features too so in all a very worthy purchase. ... Read more

Description

Hayley Mills and June Harding act up in this affectionate comedy as two juvenile pranksters at the St. Francis Academy for Girls. It is up to Rosalind Russell, starring as the patient and understanding Mother Superior, to show them the right path. Starring Rosalind Russell and Hayley Mills. ... Read more

Reviews (62)

a wonderful movie
A film by Ida Lupino

"The Trouble with Angels" is a very charming movie and it remains one of my favorites. The story is simple, but sweet. It takes place at the St. Francis Academy for Girls, where Mary Clancy (Hayley Mills) and Rachel Devery (June Harding) are enrolling as students. This is a parochial school run by nuns and is also the Mother House of their order. The school is run by the Mother Superior (Rosalind Russell). Mary and Rachel become fast friends on the train ride to the school and when they arrive they are inseparable. They love to pull pranks and just try to have a good time and get by for as long as they have to be at that school. Mother Superior tries to keep the girls in line and run the school as well as she can.

As the movie progresses, we get to see how Mary reacts to the school and how she grows. The film quickly covers several years of their education but it doesn't feel as if it is jumping around too much. We see the transformation of Mary Clancy and while the ending comes as a little bit of a surprise, it really shouldn't.

"The Trouble with Angels" is a wonderful, good-hearted movie that is perfect for the whole family. There are complaints that this DVD is in the pan and scan format rather than the widescreen OAR that it should be in, but knowing that that is the only format available we have to understand that this is likely the only opportunity to own "The Trouble with Angels" that we will have. The purist in me wants the widescreen, but the rest of my just loves this movie and is glad to have it available at all

The important thing in life is not to yield, but to choose
"The Trouble with Angels" is one of those films where the whole is greater than the sums of the part. Worldly Mary Clancy (Haley Mills) constantly has "scathingly brilliant" ideas and drags her innocent best friend Rachel Devery (June Harding) into all sorts of hi-jinks at the St. Francis Academy for Girls, a Catholic School lorded over by one of the more formidable Mother Superiors in movie history, played by Rosalind Russell. Mary has modern views and has never seen a rule she was not interested in breaking, while Rachel wishes with all of her heart to be more like her friend. Based on the novel by Jane Trahey, the screenplay by Blanche Hanalis offers by a very episodic story as Mary and Rachel get in and out of trouble over and over again. Yet every time Mary and Mother Superior butt heads each earns a bit more respect from the others. More importantly, they come to understand each other.

The original tagline for this film was that it was "a habit forming comedy," which is a rather ironic description given the film's rather surprise ending. Like Rachel, at first glance what happens at this end of this film is a complete shock. But upon ref