Amazon.com

Deservedly hailed as one of the best films of 2001, Wit makes it clear why top-ranking talents seek refuge in the quality programming of HBO. Unhindered by box-office pressures, director Mike Nichols and Emma Thompson turn the most unglamorous topic--the physical and psychological ravages of cancer--into an exquisite contemplation of life, learning, and tenacious, richly expressed humanity. In adapting Margaret Edson's compassionate, Pulitzer Prize-winning play, Nichols and Thompson open up the one-room setting with a superb supporting cast. But their focus remains on the hospital experience of Vivian (Thompson), a fiercely demanding professor of English literature whose academic specialty--the metaphysical poetry of John Donne--is the armor she wears against the cruel indignities of her cancer treatment. While losing all that she held dear, she reassesses her life as an aloof intellectual, and Wit illuminates her bracingly eloquent and deeply moving struggle for dignity, meaning, and peace at life's ultimate crossroads. --Jeff Shannon ... Read more

Reviews (80)

Wit: A Matter of Life and Death
No film as ever had such a profound effect on me as Mike Nichols' "Wit" It takes the viewer on a roller-coaster ride of emotions. One minute you will be laughing, the next sobbing. This is a powerful, poignant film about the ravages of cancer and the nature of life and death. Mike Nichols received well deserved Emmy and Golden Globes for his direction.

Emma Thompson gives what may be the performance of her career as Dr. Vivian Bearing, a strict and brilliant professor of John Donne's metaphysical poetry who is dying from ovarian cancer. She flawlessly and wrenchingly depicts the slow decline of a briliant woman. Vivian is receiving experimental treatment, and is often treated as nothing more than a speciman by her doctors. As she is hospitalized, she observes and analyzes her condition and the effect it is having on her life. Vivian's remarks are often funny, but as the cancer spreads through her body, she realizes that she has to reasses her life. In a heartrending scene, Vivian breaks down and says, "I used to feel safe." She was always a woman in control, and now that control is being savagely ripped from her by an invisible enemy. Eventually Vivian decides that when her heart stops, she does not wish to be revived: "Why make things more complicated?"

As the illness reaches its last stages, we see Vivian moaning and shaking with excrutiating pain. It is nearly unbearable to watch, but we must. The final scene, where Vivian is held like a child and read a children's story by her elderly teacher, is the most heartbreaking image ever put on film. "I feel so bad," Vivian manages to say, and that is all she can say.

"Wit" is a intensely moving and painful film to watch. It shows death by cancer in minute detail, never letting the viewer off easy. And that is how it should be. "Wit" is an educational experience as well as a cinematoc one, and you will leave the film understanding better the hell that cancer patients go through. It will leave you sad and haunted, but also comforted. For even though a woman has suffered and died, she kept her dignity....and her wit, with her until the very end.

Deeply moving.
Emma Thompson's and Mike Nichols's HBO teleplay based on Margaret Edson's stage play was both fascinating and emotional.

Thompson plays Vivian Bearing, an English professor who is diagnosed with terminal ovarian cancer. The film follows her from her diagnosis to her death; during this time she questions life and finds her answers while examining the sonnets of John Donne. The implication that life is simply an observation by the people who live is deeply provocative and moving.

Direction by Nichols is superb, and cinematography by Seamus McGarvey is terribly poignant: the final scene in particular is breathtaking. The cast is first-class, led by an impeccable performances by Emma Thompson and four-time Tony-winner (wow!) Audra McDonald. HBO has once again delivered a winning piece of cinematic art to its audiences.

DEATH be not proud, though some have called thee
Mighty and dreadfull, for, thou art not so,

Doctor Vivian Bearing, a tough, intellectual professor specializing in 17th century literature, takes on the challenge to undergo eight months of experimental chemotherapy and a combination of drugs to battle advanced metastatic ovarian cancer, in which she is in Stage 4, a cancer for which there is no Stage 5. She will also be studied by medical students, her illness being a significant contribution to knowledge. To be something studied, as opposed to a human being, yes, there's the rub, to quote the Bard. But she is a tough woman, never one to shirk a challenge.

For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill me.

Most of the story has Bearing's soliloquys, spoken to the viewer from her hospital bed, bald-headed and wearing a hospital gown, describing what she's thinking and feeling, and she does so with wit. One learns of her fascination with words, her past history as a student and academic, how she has preferred research to humanity, and her tough style of teaching, which she got from her mentor, Professor E.M. Rumford. There's a fascinating discussion between Bearing and Rumford, where the original punctuation at the end of Donne's "Death Be Not Proud" included a comma in the line, "death, thou shalt die." In other words, a comma separates life from life everlasting. Yet when Rumford tells her to go hang out with her students instead of going to the library Bearing goes to the library. Later, when a young doctor, Jason, tells her how he's fascinated by cancer due to its smartness, calling it "immortality in culture," it's ironic that she wishes he would be more interested in humanity rather than research.

From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,

As for flashbacks, there are times when we cut to a scene when she's a five year old reading a Beatrix Potter book, that she alternates between her five-year old self and as she is now, bald and in the hospital gown, symbolizing how fragile she seems despite bearing up.

And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.

She presents her illness in a paradox in the manner of Donne himself, when she says that with her immune system down, everything is a hazard, especially the health care professionals. She isn't in the isolation ward because she has a grapefruit-sized tumor, but because her treatment imperils her health. But she revels in the paradox, seeing it as an intellectual game. But when the cancer spreads elsewhere, she begins to get frightened, realizing her intellectual abilities isn't going to help her, but that she seeks simplicity and kindness, and that makes her regret she had been sympathetic to some of her own students. Fortunately, she finds that in Susie, the nurse, with whom she has a rapport with.

Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,

Juxtaposing this movie with my mother's recent battle with cancer did ring some emotional chords due to similarities. My mother wasn't as open as Dr. Bearing in her feelings when undergoing CT Scans, ultrasounds, colonoscopies, or the IPT chemotherapy. But she too looked for kindness and simplicity, and when a certain hospital worker wheeled her chair to a spot of sunshine on a cold day after a CT scan, my mother realized that maybe she was wrong in being too tough, and that she had hurt some people in her past.

And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then;

This is by far Emma Thompson's best role ever, but Audra McDonald as Susie lends strong support as the very human and compassionate nurse, who sees Bearing as a human being, not a subject for study. Those who have just lost a dear one to cancer may find this painful going, others will find this a study of reflection one experiences when near the portals of mortality.

One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.

don't forget what this movie is really about...
An excellent introduction to the work of the great poet John Donne. Why don't they teach this guy in secondary schools? He rivals Shakespeare's brilliance and genius, and in some ways surpasses it.

Anyways, this movie should basically have the subtitle: who is John Donne, and why should you read him? Emma Thompson, in the role of a dying Donne professor is, of course, superb (even without the hair.)

Wit = 4 stars, John Donne = 5 stars

Just blew me away
Emma Thompson is just unbelievable in this role. There isn't much to look at in this film, just basically a hospital bed and some flashbacks. It's the dialog that was just incredible. How she describes her illness, what she is feeling, her childhood is so incredible. I was glued to the movie, I didn't want to miss a word. I can't say enough about this film, I just wish there were more that relied on good dialog instead of vulgarity, explosions and car chases. This movie will be a classic. What a beautiful film. ... Read more

Amazon.com

Cary Grant's penultimate feature before retirement was thischeerful 1964 effort to overturn his career-long image of urbanesophistication. As the unshaven, messy misanthrope Walter Eckland, a WorldWar II-era beach bum who monitors Japanese air activity for the Australiannavy in exchange for booze, Grant makes a convincingly hard-bitten,hard-drinking antihero. Until, that is, a pretty French schoolmistress(Leslie Caron) and her seven little charges (all girls) survive a nearbyplane crash and invade Eckland's raunchy isolation. Directed by 1960shit-maker Ralph Nelson (The Lilies of the Field, Charly),Father Goose is a glossy comedy that also does justice to its moresuspenseful scenes (a deadly snakebite suffered by Caron's character isespecially memorable) and leaves plenty of room for Grant to indulge in someentertaining if atypical screen behavior. All in all, this is a minor treatin the actor's magnificent filmography. --Tom Keogh ... Read more

Reviews (27)

A Charming Comedy
FATHER GOOSE is a charming comedy about a decadent American expatriot (Cary Grant) who gets pressed into service as a coastwatcher by the Australian Navy during World War II. Grant is stationed on a lonely South Pacific island until he unwittingly is forced to rescue Leslie Caron and her band of young French refugees who join him at his outpost.Trevor Howard is an Australian Navy Commander who maintains radio contact with Grant.

Much credit goes to Director Ralph Nelson and Peter Stone with his fellow screenwriters. Cary Grant is superb as usual and Leslie Caron is gorgeous.

FATHER GOOSE won an Oscar for Best Original Story and Screenplay. It was also nominated for Best Editing and Sound.

Fancy and Reality play well together
Essentially a comedy FATHER GOOSE dabbles into some of the realities of World War II in the South Pacific. Credit for this can be given to Cary Grant's surly yet sophisticated approach to this type of role and Ralph Nelson's direction which uses comedy as a canvas to spin his tale tinged with the realities and frailties that are encountered in life's many challenges not to mention relationships. I could not help but think as I watched this film that Cary Grant really stood his ground as an actor because the seven little girls really could have stole this picture away from most adult actors. Leslie Caron is also good as she brings a sense of level headed femininity to counter Cary Grant's gruff response to having his solitude encroached on by "civilization" and all that implies. This is an enjoyable film.

Cary Grant plays an unshaven outcast!

Director: Ralph Nelson
Format: Color
Studio: Republic Studios
Video Release Date: November 23, 1999

Cast:

Cary Grant ... Walter Christopher Eckland/Mother Goose
Leslie Caron ... Catherine Louise Marie Ernestine Freneau
Trevor Howard ... Commander Frank Houghton RAN/Big Bad Wolf
Jack Good ... Lieutenant Stebbings RAN/Bo Peep
Sharyl Locke ... Jenny
Pip Sparke ... Anne
Verina Greenlaw ... Christine
Stephanie Berrington ... Elizabeth Anderson
Jennifer Berrington ... Harriet 'Harry' MacGregor
Laurelle Felsette ... Angelique
Nicole Felsette ... Dominique
Alex Finlayson ... Doctor Bigrave
Peter Forster ... Chaplain
Richard Lupino ... Radioman
John Napier ... Lt. Cartwright, USS Sailfin Executive Officer
Simon Scott ... Captain of Submarine, USS Sailfin
Don Spruance ... Navigator
Ken Swofford ... Helmsman, Submarine USS Sailfin

An unkempt, scruffy Cary Grant plays an American ex-patriate during WWII who is running from civilization, but is recruited into the coast watcher service against his will by Commander Frank Houghton (Trevor Howard)of the Royal Australian Navy with promises of whisky as a bribe. While on an island radioing aircraft and ship traffic, he is induced to take a teacher (Leslie Caron) and her girl charges into his custody. Japanese forces are a constant threat, as well as the danger of snakebite, for which Cary Grant maintains a supply of snakebite remedy. Of course, it is suspected that he also carries a supply of snakes for the same purpose.

This is one of the last movies that Grant made. Two years after it was made, he retired from the movie industry.

The usually dapper, suave Grant, was out of character in this part: unshaven, scruffy, and a drunkard. It was a refreshing part for him, and he played it superbly.

It is a thoroughly entertaining film.

Joseph (Joe) Pierre

Cary Grant driven mad by Leslie Carron
Cary Grant plays an American drifter in the Pacific during WW2, who is blakcmailed by Australian Naval officer Trevor Howard into staying on a small island to keep a lookout for Japanese (Howard rams Grant's boat to make sure he can't get away from the island). His peaceful island existence is disrupted when he has to accomodate a French diplomat's daughter (Leslie Carron) and the seven little girls in her charge. Carron is an insufferable prig who forces Grant to give up his hut to accomodate them, and to add insult to injury hides his supply of whiskey. There is a charming scene where, after he has saved the life of one little girl when Japanese land on the island, she shows him where the whiskey is. From then on the girls become friends with Grant, and even the self-righteous Carron unbends a bit and becomes less obnoxious. Then he teaches Carron to catch fish by hand, and as he is fondling her in the water, they start to smoulder at each other, and you probably can guess where it goes from there. The girls are all very good,particularly 'Harry', who is inseperable from her cricket bat. This is a very funny film,though Carron is infuriating through a lot of it. Personally I think it would have been better if Grant had - oh well, perhaps I'd better not finish that thought, it's very politically incorrect.

Father Goose is Cary Grant at his best!
"Father Goose" is a lot of fun and is arguably Cary Grant's funniest and finest film. Yes, he was great in "Charade", "North by Northwest", "Notorious", etc -- but here his honed skills and comedic timing pay off in this very funny film and makes it well worth seeing. You don't have to be a Cary Grant fan to enjoy this film -- but after seeing it, you will be.

"Father Goose" was nominated for Best Picture (Musical/Comedy) by the Golden Globe and won an Oscars for Best Writing, Story and Screenplay - Written Directly for the Screen in 1965. The cast, production, direction, photography, story -- all are top notch.

The film looks terrific on DVD with an aspect ratio of 1.85. The South Pacific cinematography adds greatly to the visual impact of this film. There are brief bios and filmographies of the priniciples. That's all. No further extras. This film is 16x9 enhanced.

Highly recommended! ... Read more

Amazon.com

Walter Matthau is in peak form in Hopscotch, a featherweight spy-game comedy in which he plays a CIA agent who's way smarter than his dimwitted superiors. That's the fantasy part--this amusing cat-and-mouse game is so lopsided that you can't take it seriously. The movie's charm is derived from the sardonic pleasure with which Matthau makes his pursuers look like idiots, after they've targeted him for "termination" for publishing a tell-all memoir about his tenure in "the Company." He's no stool pigeon, however; it's his boss (played with blustery thick-headedness by the great Ned Beatty) who's abusing his power, so Matthau recruits an old lover (Glenda Jackson) to join him in a globetrotting game of clandestine cleverness. Under Ronald Neame's too-casual direction, this is a not-so-wild goose chase, but Matthau and Jackson (reuniting after they had fun making the 1978 comedy House Calls) have an easygoing chemistry that's nicely balanced with Matthau's cantankerous shenanigans. --Jeff Shannon ... Read more

Reviews (116)

I love this movie!
Miles Kendig (played Walter Matthau) is a CIA agent who is used to doing things his way. When his new chief, the abusive and bombastic G.P. Myerson (Ned Beatty), decides to retire him behind a desk, Kendig decides that the CIA needs a house cleaning--and that his memoirs would make the perfect broom. Now Kendig is on the run from the Agency: sending out new chapters, playing hide-and-seek with old associates. It's all a game, a game of hopscotch, and Kendig needs to keep one step ahead. Will he succeed? [Color, released in 1980, with a running time of 1 hour, 44 minutes.]

I have loved this movie since it came out in 1980! It is just the perfect mix of adventure and humor. Humorous, but not a comedy movie--it's an adventure story with a sense of humor. And now for the bad news: to make his character more dislikable, Ned Beatty swears incessantly in this movie, which makes it a little much to watch in front of small children (I have two). That said, though, I do not know why this movie deserved its R rating. There is no nudity, and practically no violence. And I must add, the swearing is not too much for adult viewers; I have yet to meet anyone who doesn't break into uproarious laughter when Myerson angrily gives his opinion of what FBI stands for!

Smart, Stylish Comedy
We saw this movie back in the early 1980's and loved it, but by the time we tried to get a copy, it had gone out of print. Many thanks to Criterion for releasing it on DVD! This film is superb, well-written and directed, with a cast of very gifted performers. The actors play their roles to the hilt and have a terrific chemistry onscreen.

The plot is basic revenge, perpetrated on the CIA by one of its top operatives. Walter Matthau plays the amiable Kendig, a man who's served in the field for decades and is an excellent agent. He's smart yet still down-to-earth; his reputation among the underworld of spydom is the stuff of legends. Kendig is respected even by his enemies for his savvy decisions and sense of fair play, and his reluctance to resort to dirty tricks. His new boss, Meyerson (Ned Beatty) resents his underling's popularity and decides to neutralize Kendig's effectiveness by yanking him from the field and assigning him to a desk job as a file clerk.

To say that Kendig despises his new boss would be a gross understatement. A switched file is shredded and Kendig vanishes, fleeing to Austria and his lover Isobel (Glenda Jackson). From there, he nurses his wounds and launches on his vengeance against Meyerson and the CIA by writing a book that reveals the agency's dirty tricks and botched missions. Meyerson is livid and assigns Joe Cutter (Sam Waterston) to put a stop to Kendig by any means necessary, especially assassination. Cutter admires Kendig and is torn by his personal feelings for the man and his desire to serve his country.

The story then twists and turns as Kendig leads his former employers on a huge wild goose chase. He calls them from a phone booth right near the CIA headquarters, hides out in Meyerson's southern house---which is later demolished by the feds themselves---, and feeds chapters of the book to Meyerson to whip him into a frenzy of ineffectual rage. He plans on getting the entire book to a publisher, and his means for doing so and ensuring his own protection from future assassination attempts are ingenious.

We are very happy that this movie was released to the public once again. Matthau is superb as a real man working in an unreal world of espionage. Herbert Lom is great for the role of his KGB counterpart, and Glenda Jackson is both tart and elegant as the enigmatic Isobel, who frankly adores Kendig. Ned Beatty plays the part of the oafish Meyerson to perfection, making the viewer hate him thoroughly. Waterston is in excellent form as the good-hearted and conflicted Cutter, and shows hints of his mildly acerbic wit that would come to fruition in his later role of McCoy. The supporting players are fine, too, and the plot is well-crafted and believable.

The DVD is nicely done. There aren't many extras, but it's beautifully produced and does have a nice feature: an alternate soundtrack that deletes the foul language, so even kids can watch it with their parents. We are pleased with our investment, and highly recommend "Hopscotch" to anyone who enjoys a well-done and stylish comedy. It's also perfect for fans of Walter Matthau!

He's about to expose the CIA, the FBI, the KGB...and himself
Off the top of your head, how many funny spy films can you think of? The James Colburn 'Flint' films of the 60's? The Austin Powers movies perhaps? Or that incredibly lame Leslie Nielsen film...Spy Hard (1996)? Over-the-top silliness seems to be a common theme in these films, but Hopscotch (1980), based on a book written by Brian Garfield, also a comedy involving spies, manages to rise above, avoiding the slapsticky and crude humor, rather providing a charming and intelligent story that entertains throughout. Directed by Ronald Neame (Prudence and the Pill, The Poseidon Adventure, The Odessa File), the film stars a wonderful and accomplished cast of actors including Walter Matthau, Glenda Jackson, Sam Waterston, Herbert Lom, and Ned Beatty.

Matthau plays Miles Kendig, one of the CIA's top field agents who suddenly finds himself relegated to a desk job after control of the department he works for is taken over by a petty, vindictive, and less than capable man named Myerson (Beatty) who seems to harbor a personal grudge against Kendig. Unable to deal with riding his career out behind a desk, Kendig leaves the agency, and, after much thought, decides to write his memoirs, detailing all kinds of juicy, sensitive stuff about not only his own agency, but also intelligence agencies throughout the world. After being in the biz for thirty years, he certainly has the inside scoop on all kinds of things, causing his former boss to put out the order for his termination, elimination, liquidation, extermination, what have you...with the aid of a wealthy widow and love interest named Isobel who was also once in the game, played by Jackson, Kendig begins leading his former colleagues on a chase that spans halfway around the globe, always managing to stay one or two steps ahead. Will he be able to finish his book before his old agency or that of a foreign power catches up to him? Even if he does, will he live to see his work published?

Hopscotch is a wonderfully witty, light comedy with a dash of sophistication that nearly everyone can enjoy. Matthau plays his role so perfectly that after seeing the film, you could imagine no one else in the part. He's certainly got that whole irascible charm thing down, and it fits with the character very well here. I loved how his character never seemed to lose his calm composure, constantly outwitting and outsmarting his former co-workers in leisure like fashion, given that he probably wrote the book and trained half the men now chasing him. The element of Kendig using the notion of a book for revenge at first, but then once removed from the work he participated in for so long and seeing just how nasty it is from an outside perspective decides to follow through with his initial threat of finishing the book and getting it published. Jackson plays so very well off Matthau, and they create a level of chemistry that's pretty rare, in my opinion, between on screen couples. They just seem to fit so naturally together, creating a level of believability to counteract the somewhat unrealistic element that the CIA are a mostly a bunch of bumbling buffoons. Did anyone else think her hair was a bit too short, giving her the appearance of a young boy? Maybe it was just me... I really enjoyed a young looking Waterston (Law and Order) as Cutter, Kendig's competent and intelligent protégé now responsible for finding and eliminating his former mentor. I read that he'd actually come into shooting late due to the film he was working on prior, Heaven's Gate (1980) ran past its' shooting schedule, and is the reason why Waterston looks so very tired in some of the scenes in Hopscotch. Herbert Lom is also very good as a Soviet agent named Yaskov, one "who's seen Casablanca one too many times", although I felt he deserved a bit more screen time. Ned (Squeal like a pig for me, boy) Beatty is a riot as Myerson, constantly exasperated by his group's futile attempts to put a lid on the loose cannon he himself let loose due to his own petty dislikes for Kendig. Imagine someone you work with that no one likes, and then that person finally getting a little bit of power, lording over certain individuals, power tripping here and there, but mostly tripping over his own feet, and you basically have Myerson. The direction by Neame was most excellent, keeping the viewer (me) engaged throughout, with a smooth, steady pace as the story unfolded, which is a bit light in some parts, but did nothing to reduce my enjoyment of this charming, funny film.

Criterion provides a superior high-definition digital transfer here in wide screen format and a cleaned up soundtrack. The quality of the picture is really fabulous, especially when compared to my old VHS copy. As far as special features are concerned, there's not as much as I would have thought from a Criterion release, but what's here is very worthy. There's liner notes on the insert inside the DVD case by Bruce Eder, a video introduction by writer Brian Garfield and director Roland Neame along with interviews, a separate audio track, a clean version created for television broadcast along with the original version (there's very little profanity in the film, but what this is comes from Ned Beatty's character Myerson) and an original theatrical trailer along with a teaser trailer for the film. If you're looking for a smartly funny engaging comedy that only gets better after repeated viewings, then Hopscotch is for you.

Cookieman108

Ughhh! What a Waste of Major Talents!
Rarely have such major talents (Matthau, Jackson and Beatty) been wasted in a film.

Matthau plays a CIA station chief who is called back to Washington when - against CIA instructions - he allows the KGB's top agent to go free after catching him dead to rights in an espionage sting.

How does Kendig (Matthau's character) deal with being "taken out of the game"? Against CIA policy, he proceeds to sell out U.S. national security interests by writing a best-selling expose of CIA covert operations. Ha, Ha! Real funny! What a laugh riot! The entire movie is standard liberal Hollywood fare - the CIA is stupid, the FBI is stupid, the iconoclast is irrascible and superior (he must be, he loves opera), yada, yada, yada.

And what, do you ask, is Kendig's stated motive in disclosing U.S. secrets in a best-selling book? To expose CIA wrong-doing? Uh, no. Is it to expose a rogue agent in the upper reaches of the CIA? No, not that either. To quote the film, it's payback because his boss "emasculated" him. I do not kid. That's what he says. Wow! What a riot! Get back at your boss by selling out your country!

I was in the last PATH train to be diverted from the World Trade Center PATH stop and watched the buildings go down - not on TV. I have subscriptions to the Metropolitan Opera and the City Opera. I DID NOT FIND THE PREMISE OF THIS FILM THE LEAST BIT FUNNY.

"Hopscotch"..."Good Title"
was suprised to see criterion release hopscotch, but glad they did. here matthau is repremanded for allowing a wanted KGB agent to walk. matthau's integrity is too precious to take guff from even the CIA. subsequently, he does not take the news of being reassigned to the job of file clerk very well so he begins to write his memoires, leaking secret information to the opposition. the ensuing chase is slapstick, a spy vs. spy comedy with great international locations. frankly, using the cold war as a catalyst for comedy was long overdue by 1980. ... Read more

Amazon.com

The great improvisational comedy team of Mike Nichols and Elaine May reunited to (respectively) direct and write this update of the French comedy La Cage Aux Folles. Robin Williams stars as a gay Miami nightclub owner who is forced to play it straight and ask his drag-queen partner (Nathan Lane) to hide out when Williams's son invites his prospective--and highly conservative--in-laws and fiancée to a meet-and-greet dinner party. Gene Hackman and Dianne Wiest play the straight-laced senator and his wife, and Calista Flockhart (from television's Ally McBeal) plays their daughter in a culture-clash with outrageous consequences. May's witty screenplay incorporates some pointed observations about the political landscape of the 1990s and takes a sensitive approach to the comedy's underlying drama. Topping off the action is Hank Azaria in a scene-stealing role as Williams's and Lane's flamboyant housekeeper, "Agador Spartacus." --Jeff Shannon ... Read more

Reviews (99)

much better than i expected!
A film by Mike Nichols

I wasn't initially excited or interested in seeing this movie, but after being repeatedly told that it is a really good and really funny movie, I rented it. Good decision. I was surprised by just how good this movie really is and even more surprised by how much I ended up liking it.

Armand Goldman (Robin Williams) is the owner of a gay nightclub where his partner, Albert (Nathan Lane) is the star of the show. Armand's son Val (Dan Futterman) comes to town and tells his father that he is getting married. Val is marrying a young woman named Barb Keeley (Calista Flockhart). This would not cause any problems except that her father is the ultra-conservative senator Kevin Keeley (Gene Hackman). Senator Keeley is the co-founder on a group expounding a highly conservative morality and this would present some conflict in the relationship. What really causes conflict is that Barb and her parents are driving down to Florida and will be having a dinner with Val's family. He tells Armand that the entire house must be re-decorated to look less gay and that Albert can't be there because there is no way to hide his gayness (Albert is so overtly gay that there is no possible behavior modification that would work. Albert is who he is). The movie has Val trying to hide who his father is, and we do see Armand uncomfortable with that, but he also loves his son and wants everything to work out for Val. Senator Keeley and family finally does arrive and naturally there is still some evasion until something happens and there is no longer any way to hide the truth.

This movie is funny all the way through. Albert is so incredibly flamboyant, but lovable, and it is a joy to watch him onscreen doing his thing. I can't think of any problems that I had with the cast, everyone was spot on. Obviously this movie is supportive of a homosexual lifestyle, so if that is the sort of thing that bothers you, this movie is not for you. The Birdcage shoots barbs at the conservative moral ideals, but it does so in a very funny manner. It is over the top, flamboyant, and all around funny and it is worth your time to give The Birdcage a chance. It also features a scene stealing Hank Azaria as the housekeeper Agador.

Yet Another Great Gay Comedy
"The Birdcage" is a great comedy release of 1996. It stars Robin Williams, Nathan Lane, Calista Flockhart, Gene Hackman, Dianne Wiest, and others. Before its release, few other movies explores gay issues or themes, having such box-office success (remember, this is before "Will And Grace" started). Therefore, this earns the cast and crew tremendous respect for their daring efforts. The plot writing is brilliant! Its great, unique humor keeps audiences interested from beginning to end. As many surprises arise, the dramatic vibes always arise at the perfect time, namely the scene when one of the fathers, Armand, refuses to speak to his son, Val, for a while because of demands to make him more "straight looking". In the meantime, the story of Val's fiance's family traveling hundreds of miles to meet the future in-laws adds to the humorous and interesting movie experience. However, her father is an ultra-conservative politician. Therefore, to gain his approval, Armand must portray a heterosexual, and his long-time boyfriend and Val's other father, Albert, must pretend to not exist. Throughout this struggle, numerous emotional breakdowns occur that will capture the audience's heart. The drag show performances add to the movie's excitement, offering an artistic and deeper look into the characters. Every characters' personalities add their own certain movie vibe.

Every actor offers their own sense of humor through this movie, which proves that the chemistry between the actors and the movie is perfect. Nathan Lane capitalizes the comedy sense. His flamboyant portrayal of Albert stands out throughout the whole movie. Robin Williams expresses his comedic and his dramatic side perfectly in his role of Armand. His studying of his character's lifestyle is obvious. Gene Hackman, Dianne Wiest, Calista Flockhart, Dan Futterman, and all other actors performed their roles equally wonderfully.

"The Birdcage" is a great movie for those looking for a great comedy and/or a great gay pride theme. This will surely entertain many audiences. Such movie quality is only one characteristic that makes it destined to become a classic in the following years.

Great Film: Fun, Funny and Touching
This is one of my favorites... Nathan Lane is -- pardon the expression -- "screaming-ly" funny as Albert, half of the gay couple whose son returns home from college to announce his engagement to the daughter of ultra-conservative Senator Keeley (fabulously fleshed out by Gene Hackman, whose comedic timing and delivery is superb!). Robin Williams low-key characterization of Armand is the perfect foil for Lane's "to the hilt" performance. Diane Wiest shines as the Senator's dutiful political wife, while Hank Azaria is Armand's and Albert's "hot" Guatemalan house-man/showgirl wanna-be. Nichol's great directing, a fabulous script and the inspired casting make a terrifically entertaining film. It's just so much fun to watch!--- Love it!

Good comedy about "gayety"

Robin Williams and Gene Hackman team up to give us rollicking comedy. Hackman plays a a radical right-wing Republican senator whose daughter is about to marry the son of a homosexual Robin Williams) who has a flaming live in partner. The humor revolves around the gay couple trying to act straight while hosting dinner for the senator and his wife. Williams' gay partner does a female impersonation for the benefit of the dinner.

The press is caught up in the plot when, as the National Inquirer reporter says, "those vultures" of the national media show up with their TV cameras.

The ensuing scenes, when the despicable conservative senator escapes the press in drag, thus justifying the stereotypical right-wing idiot. Hackman plays his part flawlessly, and it is a funny movie.

One unintended Hollywood message is the problems caused by trying to raise normal kids with a same-sex couple as "parents", usually deftly ignored under the present situation, with gays pushing for same-sex marriage on a nationwide campaign.

Joseph (Joe) Pierre

One of my all-time favorites!
Nathan Lane + Hank Azaria + Robin Williams + Gene Hackman + Dianne Wiest = Hilarious Comedy. Nathan Lane and Hank Azaria especially stole the show for me. Lane's screaming and Azaria's accent make this a must see.

Dan Futterman does get on my nerves a bit in this movie. It's his attitude towards Nathan Lane's character. It's a bit demanding and very ungrateful. Other than that, this movie is as good as they come.

I highly recommend this. ... Read more

Reviews (85)

Based on a true story....
Working undercover as a jewel dealer Joe Pistone (Johnny Depp) earns the trust of Lefty Ruggiero (Al Pacino). Lefty vouches for Joe and brings him into his mob family. What was supposed to be a three-month assignment for Joe turns into several years. Joe begins to drift away from his own family and deep into the mob. He and Lefty form a strong bond and a father son relationship. When the investigation is coming to an end Joe realizes that his only way out of the mob is to betray his friend.

The film is presented in 2.35:1 anamorphic widescreen. It is a very nice transfer the only flaw I noticed was a hint of grain occasionally. A Dolby Digital 5.0 audio track is provided. The surround speakers are hardly used. When they are its mostly only for music. With a movie like this that is mostly dialogue its understandable. This special edition DVD has several extras. The highlights are a director's commentary, two featurettes, deleted scenes and trailers. The featurette titled "Donnie Brasco: Out of the Shadows" was excellent. It gives a lot of background on the film and contains several interviews with the cast and crew. The deleted scenes are nice to see but I can understand why they were cut from the film.

For those of you thinking this is just another mob movie, you are wrong. Instead of showing the top of the crime family tree like many other films this one shows the bottom. It shows soldiers that are scraping at the bottom of the barrel and are just trying to make ends meet. This is a film that stands on its own on many levels. It was perfectly cast with Johnny Depp, Al Pacino, Michael Madsen and Anne Heche. If you like mob movies or just fine acting this is one film you need to see.

A Mobster Masterpiece Worth Watching Over and Over Again
Based on a true story that is so amazing and shocking, "Donnie Brasco" is a fantastic film that hooks you from start to finish. With stars like Al Pacino, Johnny Depp, Michael Madsen, and many more, this is a movie that should be seen by all.

FBI Joseph D. Pistone is an undercover agent who's goal is to get into the violent and unpredictable mob world. He goes the by name of Donnie Brasco. Soon he is discovered by Lefty Ruggiero, who sees potential in the kid, not aware of who Brasco really is. He brings him into the family and the world of the Mafia. It doesn't take long for Joseph to get so deep into the action that he starts to become one of them. This unforgettable picture shows us that sometimes you can become what you chase if you're in too long, and that in order to catch a monster you may become one yourself in the process.

I became addicted to this film in no time. It's one of my favorites that I have seen over and over again, and it hasn't gotten old yet. The acting and directing is all fantastic. Al Pacino really shines, as always, and Johnny Depp gives an Academy Award performance as the FBI agent. He actually spent time with the real Joseph Pistone to get his character down, as he did when he was working on "Fear and Loathing in Las Vegas." Michael Madsen is also terrific and can once again send chills down our spines just as he did in "Reservoir Dogs."

This new special edition of the DVD is much, MUCH better than the original. First off, the sound and picture quality has really improved. Especially the picture; it looks a lot better than the first version that came out. There are also a lot of extras, including features such as director's commentary, and exclusive featurette, the original featurette, deleted scenes, trailers, and more. The featurettes are very interesting and makes the DVD that much more special. A very high quality special edition, if you ask me.

All in all, "Donnie Brasco" is an outstanding picture on all fronts. Filled with drama and suspense, this is a film that will take you deep into the world of the Mafia. The only question is how far would you go? And would you risk becoming one of them when it's all said and done? Excellent all the way!

More of the Same
There are so many great mafia/mobster movies out there. This aint one of them. Slow and preachy. Pacino plays a schmuck and Depp's character must have rocks in his head for going undercover. Kind of dull.

Finally we know what 'fuggedaboudit' means
Donnie Brasco is based on a true story but it is still gripping. Donnie Brasco is the alias of Joe Pistone, an undercover agent. He joins the mob as a help of Lefty played by Al Pacino. Pacino again plays a great mobster. This time as just a spoke, and sometimes not very smart.

But DB gets so involved that he does not know on which side he is, that is what loyalty does to him. Even his marriage is almost falling apart.

Depp and Pacino are of course brilliant as ever and this is another great maffia movie like Goodfellas are the Godfather.

Great Movie
Al Pacino learns what its like to be Fredo Corleone in this movie..being stepped on, stepped over, getting no respect, and finally getting killed by people he trusted...he plays a loser trying keep his head above water with great conviction. Johnny Depp holds his own on the screen and gives another great performance as well.. ... Read more

Reviews (30)

A very silly but lovely 1950s soap opera
There are some wonderful reasons to add the newly released-on-DVD "The Best of Everything" to your film library. For one, it is a glittering and colorful glimpse into New York City circa 1959. Fox certainly has done a commendable job with the DVD--the picture quality and sound are both crystal clear. Cinemascope has rarely been this fun to watch, because now one can see it digitally mastered in widescreen with vivid color photography by Deluxe brought to sparkling life.

The film is very, very lush. From the beginning, when the screen fills with a sunny view of the Manhattan skyline to the sounds of Johnny Mathis crooning the Oscar-nominated theme song, you know you are in for grand entertainment. All of the performances are fine, with Crawford a standout.

I think it's funny that although Joan Crawford only has five to ten minutes of screen time in "The Best of Everything," her picture is featured very prominently on the back and front covers of the DVD. The casual watcher may never know that the ultimate movie star had a only a supporting role, yet with that tiny role she managed to steal the entire picture and make it her own!That's star power!

As enjoyable as the film is, it is incredibly flawed. If one was interested in sexist attitudes (concerning men AND women) and how they have changed since the 1950s, there couldn't be a more relevant movie to watch. It is shocking, and sometimes disturbing, how much attitudes have changed.

For example, at one point during the movie, Catherine (played by lovely Hope Lange) is told by David, one of her romantic interests, that once she has proven to herself she can make it in the publishing world (which, in his view, could be the only reason a woman might have some kind of ambition) she should quit it all, get married, and "love happily ever after." Now there is nothing wrong with wanting to be in love happily ever after, but it certainly represents a double-standard. Who would ever tell a man such a thing?Could you imagine Hope Lange telling David that a man's ambition is only him trying to prove himself, and that he should cut it out and love happily ever after? (now I can imagine Joan Crawford saying that to Clark Gable, but there weren't any characters with that kind of will or independence in this film).

So much of the dialogue and morality in the film is dated, and some of it is very disturbing, but there are still some good things about the story. There are some great viewpoints on love, and how casual dating and hookups can hurt people, and my favorite line has to be, "Here's to men, with their clean-shaven faces and their dirty little minds." It's funny to say the least!

OH, YES... TAKE ME BACK TO '59
Yes, please take me back to 1959, to New York in 1959, or even back to Rio de Janeiro, a couple of years before, where I met Rona Jaffe practically every single night at the then world-famous "Sacha's" nightclub, where Rona was already drafting her novel mentally...
When the film started shooting the exteriors in front of the Seagram's building, one could actually walk-up to lovely Suzy Parker and chat with her about how real was the "new morality" of the liberated New York girls in the executive suites, decades before Sex and the City became the post-mortem of the sexual revolution of the Sixties.
At night we had the many parties thrown by Negulesco and his charming wife, while Stephen Boyd was being charming to my wife, Brazilian actress Mariza Woodward, featured in LIFE Magazine as one of the most beautiful gals in Rio.
Oh, yes, take me back!
And if you were not there then, if you were not even born then, do get this DVD and visit New York 1959 and see how charmingly it all started, despite where it eventually ended.

Good Peek into Women in Publishing in 1959
"The Best of Everything" is based on the novel by Rona Jaffe and it's popular fiction roots show.With a wonderful splashy opening song by Johnny Mathis and the sight of young, pretty Hope Lange as Caroline Bender answering an ad (hilariously promising "the best of everything" in a secretarial career) at a posh Manhattan publishing house, the film revolves around three young women seeking their fortunes in the Big Apple. The three central characters (all of whom start in the typing pool at Fabian's Publishing and come to share a cold water flat) include Lange as impeccably and jauntily suited Caroline (she really does wear a suit well), the woman with the most smarts and dignity of the three, who quickly demonstrates a natural aptitude and moxie for the publishing business; impossibly gorgeous Suzy Parker as aspiring actress Gregg Adams (Parker, a top model of the time, seems way too glamorous, sophisticated and beautiful to be lost in the typing pool or ignored by casting agents); and Diane Baker as chirpy, annoying, naive April Morrison, fresh from Hicksville and willing to swallow any hook or line that is thrown her way.Her main goal is to marry.

The usual soap opera commences, but it's fun stuff with lots of dish and dirt.Although the attitudes towards women remind women of why the feminist movement began (sexual harassment tolerated by the resident lecher, Mr. Shalimar, played with alcoholic panache and humor by Brian Aherne; all women with careers looked on as "hard" and having missed the boat in romance; double standard between men and women), honey, anyone who has seen the inside of a secretarial pool today can tell you things haven't changed terribly much beyond --cosmetically--the sexual attitudes. The secretaries storming the Bastille in the morning, brimming with gossip and tales of engagements, are much the same today, and Joan Crawford is believable as the tough editor Amanda Farrow who gives her "girl" a hard time -- with the exception of some of her unintentionally hilarious lines.(When Farrow retires to pursue a love affair, hoping it's not "too late," she later returns and announces, "It was too late.")And what man today would hand his girl socks to darn with she so cheerfully happy to comply?

But it's all fun!My favorite line:when the busload of employees are en route to the company picnic, singing, and Baker chirps to Lange, "Isn't it wonderful?" and Lange says, "I'd rather be shot in the head."

Great Slice of Nostalgia, but NOT campy!!!
After reading the reviews posted here, I ordered "The Best of Everything" with eager anticipation as so many reviewers mentioned the archaic dialogue, gorgeous scenery, and retro sets and costumes.The biggest influenece on my buying this however, was the constant comparison to my all-time favorite movie, "Valley of the Dolls".If you purchase this looking for the same campy, kitschy experience you get from VOTD, you will, like me, be very disappointed.This movie was indeed charming and a great look back at how it used to be, but not a camp delight by any means.Just don't expect something else like I did!

A Manhattan Melodrama Meets a Valley of Dolls
I am still trying to figure out why I like this film (and so many like it), when in truth, the submissiveness of females and their dependence on the love of a man really sicken me.The depiction of women in this film is perhaps a bit more progressive than that in other films of this genre, as the women are, at least, "career women", and much of the story is set in the office, of a large publishing firm, Fabian Publishing.However, among the three key friends and principal characters (played by Hope Lange, Suzy Parker, and Diane Baker), Lange's character Caroline Bender is the only one determined to be an editor.However, at the same time, when her colleague Mike Rice (Stephen Boyd) asks her if she has any ambitions beyond working a year or so, she quite adamantly says "no..none at all"...so, it's a bit contradictory, and frustrating. And he, of course, says it's "wonderful" when she agrees with him that it would be quite satisfying for her to "get her feet wet in publishing for a year or two to prove what she has "to prove", marry a doctor or lawyer, and have babies".UGH!!!But, it's 1959, so, you have to keep it in perspective.

Some of the dialog is beyond hope, but I inexplicably continue to watch this film, every so often.Maybe it's the women's clothing...I love suits, and I miss dressing up for work.(Business casual has been one of several downfalls of today's workplace, as far as I'm concerned). No, but really...perhaps it is because I want to see if at least one of these women wakes up and takes stock in her own life, and throws back all of the garbage that her "sweetheart" dishes out at her.Hope Lange does so to a degree when she rhetorically asks her slime-bucket hometown beau Eddie, in paraphrase, "what is it about men that they think they deserve the most refined, cultured, "respectable" women from the "best schools and the best families" only "part-time", for only fun, but ignore all of the attendant responsibilities that would turn frolic into long-term, serious relationships."She then goes on to say that a number of women will play the same game as men, for a while, but eventually, they'll have to pick up a few extra men of their own, to fill in the time when they're not with the one they really want.I at least admire her honesty about the pitfalls and emptiness of "casual dating" and "hooking up".

The opening credits are very nice...Manhattan in the spring/summertime is always glorious.Though I need to laugh that it's Johnny Mathis singing the title song, "The Best of Everything" (I've always thought that he was a very funny singer...he often breaks what should be long-held notes with silence...perhaps he's breathing, but we don't hear him inhale), it's also perfect....who else would be singing this song for a 1950's movie about finding your way in life and in love.

Joan Crawford's boss is in many ways no different from some of the tyrannical maniacs for whom I've had the complete displeasure to work.Joan Crawford's Amanda Farrow was more or less a direct, no holds barred, right-in-your face "meanie", telling Hope Lange that she does not have what it takes to become a Reader, much less an Editor.And, she did it in front of the rest of the typing pool (how unprofessional is that?).In the 80's, people stabbed you in the back.In the 90's, and to a degree, now, people smile at you directly, and let you believe all is well, until you're laid off in one life-altering second.

I found it inconsistent how the Suzy Parker character started out as an independent, career-minded, aspiring actress, who prided herself on never having needed a man ("to love, and to let go...that's me"), but ended up becoming the most debilitated by the rejection of a man with whom she had fallen in love.And of course, it's also amazing how Diane Baker, fresh from being thrown out of a speeding car and losing a baby (out of wedlock, no less, in the 1950's!) manages to attract the attention and heart of a young, studly doctor when she's still wearing bandages and no make-up in her hospital bed.Wonders never cease in a 1950's melodrama!

If you hedonistically enjoy "Valley of the Dolls", or "Written on the Wind", you'll love "The Best of Everything".
... Read more

Amazon.com essential video

A surprise hit and one of the highest grossing films ever to come out of Great Britain, this effortlessly enchanting romantic comedy finds confirmed bachelor Hugh Grant (Nine Months)attending weddings with his single friends as they all lament not being able to commit. Grant keeps running into an attractive American (Andie MacDowell) at these festivities and begins a long-running affair with her, even as he attends her own wedding, the funeral of one of his best friends, and his own pending nuptials. Featuring a spirited supporting cast including Kristin Scott Thomas (The English Patient)as the acerbic friend quietly in love with Grant, this touching and funny film with a mischievous sense of humor and some truly heartbreaking moments is destined to become one of the classic romantic comedies of all time. --Robert Lane ... Read more

Reviews (71)

Very Best Romantic Comedy
"Four Weddings and a Funeral" may not be the greatest movie in the history, but it surely is the best modern romantic comedy I ever saw. The only film that can possibly surpass this delightful one is, perhaps, "When Harry Met Sally ..." Maybe tied.

Hugh Grant has starred in many films since then, but his best role is still Charles of this film, who unwittingly finds his love in Carrie, an open-hearted American played by beautiful Andie MacDowell at his friend's wedding. One miatake is, he foolishly couldn't realize it before he let her go after one-night stand. But as the number of ceremony goes up (including one funeral), he gradually comes to notice that he threw away the best thing in his life. And while he is wondering what to do, friends around him start to search for their real love, including his own brother David, his timid friend Tom, Tom's sister Fiona, and Charles's eccentric roommate Scarlet. But where should Charles go? Going back to his countless ex-girlfriends? Or, Carrie? But she got already married.

To be honest, a little abrupt ending of the film damages an entire movie's strength a bit, but all comedies have to pay the price to end the show within an appointed hour. What is incredibly splendid about "Four Weddings" is that the characters are all so lively and sparkling with witty dialogue that you think they are not acting at all. Actually, on top of Hugh Grant, many actors are still associated with the roles in this film even if they got more populality after this film; Kristin Scott Thomas is later to be nominated Oscar for her turn in "English Patient," but she will be remembered as deliciously aristocratic Fiona. John Hannah made his name popular through the Hollywood blockbuster series of "Mummy," but still he is kind-hearted Matthew to those who have seen him recite W H Auden (most touching moment) in "Four Weddings." This is that kind of film that changes the cast's life. It happens once in your lifetime.

With this great ensemble cast, we have fantastic script by Richard Curtis, filled with funny lines uttered by completely believable characters. He does not fail to take great care of minor characters, and give them equally good moments. Look how Serena, in love with handsome David who is hearing impaired, learns sign. Trying to impress him, she mixes up "nice" with "mice," but, you know, when boys and girls are in love. nothing can stop them from understanding each other. Cute.

Brilliantly written, "Four Weddings" is a superb model of romantic comedy. If you like this type of movie, you surely will fall in love with it; and if you're not, your mind will be changed just like mine (I didn't expected much from it, so I didn't go to theater until the last day). And the film never forgets the sad side of life as the title implies. Sad thing is one of the cast Charlotte Coleman, who played most unconventional bridesmaid Scarlett, has passed away recently. She is terrific.

Insightful and Fun!
This movie features memorable comic vignettes and great insights into relationships, love and fear of commitment. The mumbling Hugh Grant delivers an effortlessly charming performance, he is rapidly becoming the British Cary Grant. Also extremely good supporting cast. Unfortunately Andie MacDowell doesn't add enough life to her important character and makes 'Carrie' almost lifeless and dull, which is the exact opposite of Kristin Scott Thomas performance which is quiet but right on the money. The whole movie is ultimately entertaining, fun and very funny at times. The ending is out of place and doesn't seem as smart as the rest of the film. From a scale of 1-10 I give this film a 7!

Great Movie . . . Ugh! Except for Andie MacDowell!
Yet another smashing British comedy. Yes . . . Yes . . . It would have been perfect if not for Andie MacDowell.

The movie carries on rather wittily (if not cynically) as seven friends: one pair of siblings: Charles and Scarlet; another pair of siblings, decidedly richer: Fiona and Tom; a pair of homosexual lovers: Garreth and Matthew; and a deaf man: David; attend four weddings (one being Charles'own) and a funeral with a particular air of skepticism.

Hugh Grant plays the main character, Charles, who in the first wedding is the best man, the tardy best man. During the reception, Charles falls in love with Andie MacDowell's character, the uncharismatic Carrie. That night the two "make love." The following morning is another wedding at which Tom is the best man (hilarious wedding indeed!) and Charles arrives late again. He finds Carrie's there also to discover that she is engaged to a Scottish "gentle"man, after which the two end up in bed again. Over the course of the movie, and after a considerable period since their last lovemaking session, Charles receives Carrie's wedding invitation and the gift list. She asks him to help her pick out a wedding dress, then accompanies her to coffee where she gives him the lowdown on her thirty-three sex partners. Charles actually attends her Scottish wedding (still in love with her). After which he decides to settle down with a woman who, for lack of a better word, stalked him after they dated. Carrie shows up, confesses her divorce to Scottish bloke, and her love for Charles.

In the end Charles denies his bride at the altar and lives happily ever after with Carrie after she agrees that she will not marry him.

Yes, it' just that empty. Only where Charles and Carrie are concerned, though!

MacDowell is just . . . all wrong for this movie. How Grant's character could still love her after he discovered she was a jaunty harlot (33?!) and engaged escapes me! MacDowell wasn't even a likeable harlot (Kristin Scott Thomas's character, Fiona, said it right: American slut). Her plain country voice just clashed horribly with Grant's charming British one. Nothing she said was funny. She just should not have been here. Another American actress would have been better suited, or a British actress even better.

Having said that, the rest of the movie is fantastic. Most of the humor is laughable, at other times it is clever without being sidesplitting, like most British humor.

James Fleet is wonderful as the bumbling Tom.
Simon Callow is perfectly cast as the flamboyant Gareth whose funeral is the Funeral from the title.
John Hannah has a lot of chemistry as Gareth's Scottish lover, Matthew, the more optimistic of the group.
Kristen Scott Thomas brilliantly plays Fiona, the more critical of the seven because of her secret feelings for Charles.
Charlotte Coleman is Charles' sister, Scarlett: the wild child with scarlet hair.
David Bower is the deaf David who, despite speaking in sign language, adds to the film (whereas Andie MacDowell, who spoke often, contributed nothing).
And of course Hugh Grant is Charles, the convincing bachelor who falls into an unconvincing relationship that flaws the movie.

Highly Recommended!

Overrated Piece of Garbage
I can't believe this movie was a hit, unless I saw a different movie with the same title.

We are given the rare priviledge spending time around a bunch of shallow, annoying, whiney, vacuous people as they attend the titular events. Why we are meant to care what happens to any of them, we are never told.

The only character who is almost halfway likable is a condesending jerk, and its his funeral in the title.

The only reason I went to see this was that Rowan Atkinson is billed as one of its main players. He is only in two scenes, and is even less funny than the rest of the cast ("Oh, he said 'spigot' instead of 'Spirit,' I think my sides are about to burst.") Screenwriter Richard Curtis, who also wrote for "Black Adder," must have blackmailed him.

I think Americans who like this movie, and others like it (the Curtis genre), think that seeing it makes them really sophisticated. The joke is on them, however. Just before dying, the jerk makes fun of some Americans for not knowing Oscar Wilde is dead. The American who is ignorant of things British is one of the most tired cliche's in Brithish "comedy." Many who laught at it, I'm sure, don't recognize a difference between types of Americans. We're all stupid, in their books. The ones who vist Britain as tourists or watch their movies and TV shows are the most visible to them. They like to take our money, as much as they seem to resent us.

Don't get me wrong. There is a lot of British stuff I like. I dream of one day visiting the Sceptre'd Isle. The Curtis genre, however, occasionally mocks Americans while pandering to a certain type of American, while the charcaters, but for their accents alone, are indistinguishable from the most boring types of shallow, middle-class Americans.

And seeing Hugh Grant in this movie caused me to wonder from under which rock he was found. The slime oozing off his body was quite obviously palpable to me. Why nobody else? Is this a hoax? Is everyone just pretending to like this guy for some reson? Even assuming he's good looking and all that, so what? There are lots of pretty boys, and some of them don't engage in marathon sessions of nodding and blinking. I think hundreds of actors could do just as well, if not better than him in most of his movies in I've seen. For a list of the few good movies he's been in, see my "Films with Hugh Grant that are Actually Worth Watching" in Listmania Lists.

After ten years, the bad aftertaste of this movie lingers on.

Not enough funerals
If it's possible for a movie to be any worse, I don't know how. Oh, that's right... LOVE ACTUALLY!

This meandering, pointless hodgepodge of unsympathetic and amoral characters in unbelieveable settings is a complete waste of time and film. And what was the ending about, anyway? Hugh and Andie agree to "not be married" for the rest of their lives? So, like, they're gonna just shack up for life? We all know that works soooooo well... see Hugh's non-marriage to Liz Hurley for details.

One star, but only because I can't give it zero. ... Read more

Reviews (416)

The League of Extrodinary Gentlemen
A horribly burned madman, known as the Phantom/Fantom, is making very powerful weapons, is creating a world war and worst of all, it's not even the 20th Century yet! To combat this Phantom of the Opera wacko, "M"(Richard Roxburgh) has recruited 7 literary characters, each with their own special abilities and talents, to stop this madman. This team, which includes the Hunter Allan Quartermain(Sean Connery), the Rouge Rodney Skinner aka Invisible Man(Tony Curran), the Scientist Captain Nemo(Naseeruddin Shah), the Vampire Mina Harker(Peta Wilson), the Immortal Dorian Gray(Stuart Townsend), the Spy Tom Sawyer(Shane West), and the Beast Dr.Jekyll and Mr.Hyde(Jason Flemyng and ugly CGI). Together, they form the League of Extrodinary Gentlemen.

This looked like a really fun movie. But in the end, it could of been done better. Now, I'm not very familiar with the comic book so I don't know how true this is to the material, but this film's weakest points are the script, which is terribly silly and pointless, and the horrible special effects. The action scenes were clumsy and you don't find any big suprises out of this film.

The actors range from good to bad. Sean Connery's a great actor, but he's just not believable as Quartermain because of his age. He seems too old to be able to do the physical things he can. Tony Curran is never given a chance to make us like his character. Skinner's a jerk most of the time and going back and forth between an actor in makeup and CGI effects is tedious. Naseeruddin Shah, as Captain Nemo, is fun to watch, but his fighting abilities seem a little hard to swallow. He's one of the better characters in the film. Peta Wilson does a fine job as Mina Harker. Her character is one you're really able to like. Stuart Townsend is great as Dorian Gray. He pulls the role off very well and has some pretty good lines. Shane West is good enough to make us like Tom Sawyer. He's got some really cool moments. Jason Flemyng is perfect as Dr.Jekyll, though the Hyde character looks really stupid(Facial expressions and deformations all over him.)

Overall, I'd say see it at least once. You might like it, you might hate it. Decide for yourself.

OK for hard core Connery Fans only!
No matter how many average, weird, or downright awful movies Sean Connery makes, he'll always command an audience. In this film, Connery plays a retired British explorer roped into preventing WW I by leading a team of misfits in a vaguely Bondian adventurer. As a nice twist, most of the misfits consist of 19th Century British villains such as Mr. Hyde, the Invisible Man, and Captain Nemo. Of course, no one bothers to explain why such villains would agree to unite for any cause other than, well, villainy. The film is comic book-y in a bad way, with ridiculous dialogue and a poor sense of continuity, and the effects are frequently unintentionally funny, especially Mr. Hyde's appearance. Connery makes the film work as a throwaway action film, but it's clear from the extras that the cast and some of the crew were deluded into thinking this was something more. Not surprisingly, this movie plays much better on DVD than it did in the theaters. If you're a die-hard Connery fan, you'll like this one. If not, and you want to see Connery at his best, you'd be better off with Goldfinger.

not terrible - it's fun
You probably know that LXG has the Invisible Man, Alan Quatermain, Captain Nemo and company in it. You can read the good and bad reviews. I haven't anything to report other than that I enjoyed it and LXG doesn't deserve it's bad rep.

LXG is GREAT!
I love LXG! It's cartoony and action packed and has so many of my favorite fictional characters in it. Most importantly it's got Peta Wilson in a perfect role for her. Ultra-sexy Peta is one hot vampire chick! The reviewer who said she didn't do any vampire stuff must not have really seen the flick. She drinks human blood! What more do you want dude? She flies and turns into bats too! That's not vampire stuff? Stop smokin' and WATCH THE MOVIE!
Don't let bad reviews written by people who didn't see LXG turn you away. It may not be your thing or it might be. I had a ball watching LXG. Give it a go, have some fun with it, enjoy the characters, watch Peta do vampire stuff,.. and hell just watch Peta! She's HOT!

One very poorly polished turd...
Everyone I know who's seen this film, myself included, hated it!! It's an interesting concept, but none of the actors really shine here and the look of certain things, such as the ship, are totally overdone and stupid looking. You'd think a movie with a vampire chick in it would be good, but she doesn't do any vampire-like things. I appoligize if anyone "doesn't find this review helpful," but seriously, I TRIED trading this DVD in to a local DVD store and they turned me away. This is no lie, they had 17 used and unsold copies already. Please don't waste your time on this flick. ... Read more

Description

Michelle Pfeiffer and Sean Penn give career-defining performances in this humorous and heart-warming film about a mentally-challenged father who enlists the aid of a high-powered attorney to help him regain custody of his daughter. An all-star supporting cast and a spectacular soundtrack complete this unforgettable story of life, love and laughter. ... Read more

Reviews (193)

Talent In Top Form, Or Exploitation Of The Heart?
Films that depict the life struggles of persons with mental or physical disabilities almost automatically tug on the heartstrings of any sensitive viewer. I AM SAM does no less, and it does so with the masterful talents of Sean Penn and Michelle Pfieffer and an amazingly talented little girl named Dakota Fanning (she has deep, incandescent blue eyes that evoke a talent far beyond her years).

Sean Penn stars as Sam, a mentally-challenged Starbucks clerk who excitedly clings to the role of father when the homeless woman he gets pregnant skips out on him. Somehow (the movie never tells), he manages to display the skills to bring Lucy up to seven years old (when the narrative of the film swings into full play).

The incredibly lovely Michelle Pfieffer does an admirable job pouring life into a vastly underwritten role. As a jetset lawyer, she's torn between her job, her role as a wife, and her role as a mother ... all of which she, arguably, is failing at. However, Ms. Pfeiffer manages to give her character, Rita Harrison, a sense of reality and a sense of history that lifts an otherwise secondary role into a more interesting person, one that the viewer wants to get to know. Sadly, the scenes of development with her husband and her son were either never written, never filmed, or left on the cutting room floor.

Dakota Fanning, as Lucy, is simply marvelous. A true talent in the making, she manages to steal every scene she's in without a touch of mirth to her performance.

Laura Dern pops up in the obligatory cameo-sized role, and, when her mother-wannabe sentiments forces her to face the bittersweet reality of choosing between breaks, the viewer feels her pain.

All in all, I AM SAM is not a great picture, as it feels more like a big budget Lifetime or perhaps HBO-cable movie, but it's passable entertainment with some acting heavyweights showing their stuff.

You will either go with your heart or your head on this film
How you end up feeling about "I Am Sam" is going to come down to which wins out, your heart or your head, because those two parts are not going to agree. In this 2001 film from director Jessie Nelson a mentally retarded man, Sam Dawson (Sean Penn) has to fight for custody of his bright 7-year-old daughter, Lucy Diamond Dawson (Dakota Fanning), with help from a cold-hearted lawyer, Rita Harrison (Michelle Pfeiffer). The state of California, represented by Richard Schiff as Turner, is concerned because Lucy is now smarter than her father and needs smarter parents (this seems a dangerous precedent to me, but you know what California law is like).

This film knows how to manipulate the heartstrings big time, starting when young Lucy asks her daddy why he is different from the other daddies and refuses to read any book that her father cannot read. Then we get to the point where the System, in its infinite wisdom, takes the little girl away from her father. When that happens we do not hear her screams, just the music turned up load, which reminded me of the extreme pathos of that same scene in Chaplin's "The Kid," where not hearing Jackie Coogan scream for his dad did not matter. Meanwhile, there is the whole bit as Sam wears down super lawyer Rita and gets her to remember that family might be as important as work. In the beginning Rita is basically shamed into taking on Sam's case, but in the end she is emotionally involved in the case and the life of her client. All that matters is reuniting father and daughter.

But the brain keeps asking some key questions about what is happening here. First, why did the State wait until this point to question Sam's parenting? The concern here is never about Lucy's safety with her father, but her desire to keep learning now that she is smarter than Sam. Second, if Lucy had been of average intelligence and not a cute little blonde kid if the State would have found her a wonderful foster home with Randy (Laura Dern) and her husband? I am inclined to think probably not. Third, why are the Department of Children and Family Services lawyers portrayed as villains? Every thing Turner says is true and he repeatedly makes it clear that his intention is the welfare of the child. He is talking practical realities and not abstract ideals.

Twice in "I Am Sam" the film echoes the famous child custody film "Kramer vs. Kramer." The first time the moment sneaks up on the audience, as well as most of the characters, and it signals a reversal in Sam's fortunes. In fact, the next time I am reminded of the other film it again signals a reversal in Sam's fortunes, and that was the point at which the head shoved the heart aside and rendered its final verdict on this film. I was not all that impressed with the rabbit coming out of the hat the first time around, and even less so the second time.

As for Penn's performance, I can see why he was nominated for an Academy Award given the propensity to give the Oscar to actors portraying handicapped individuals (Cliff Robertson in "Charly," Hoffman in "Rain Man," Geoffrey Rush in "Shine"). But I have to admit that such mannered performances next strike me as being as finally nuanced as other great acting performance. Still, he is good, and the scenes between him and Fanning sparkle.

Half the film is scored to covers of Beatles songs by Sarah McLachlan, Eddie Vedder and others, which makes for an interesting soundtrack album. Ultimately, I decided to split the difference between the ranks given by the head and the heart on this one because I did enjoy it, even as I complained bitterly about all the problems I saw in "I Am Sam." I embrace my contradictions, even in print and for public consumption. You are lucky; I was about to launch into "Heart Five, Head Three" inspired by "A Chorus Line."

WHY NO OSCAR FOR PENN??!!
In my opinion, this is easily Sean Penn's best performance and he has had many great ones.I was just starting a nasty custody case when I saw this movie for the first time and I was moved in so many ways. I could watch this movie over and over again, the music (all Beatles covers) was done perfectly, and Penn's performance was done so well he had a certain innocence about him that was just heart wrenching at times because of how bad he was being treated by the system and he just kept doing what he thought was right and the one point in the movie when he was on the stand and sounded like he was making perfect sense and it ended up he was just quoting something he heard from someone else saying(other people's names included),it really makes you feel for him and you just wish that they would give him his daughter back. Eventually things turn out in his favor, which I wish would happen for me but unfortunatly, I live in the real world! GREAT MOVIE, GREAT PERFORMANCES,GREAT STORY, GREAT MUSIC, GREAT, GREAT, GREAT!!

"Slow" dad fights court order to give up his child
Sean Penn as a devoted father (Sam) who despite mental challenges, fights for the right to raise his child is convincing in a complete departure from his usual "bad guy" characters. Michelle Pfeiffer plays his reluctant "pro bono" elite lawyer, who eventually puts 110% into this case.
The love between Sam and his 7 year old daughter is evident in many sweet scenes (got Kleenex?), best described by a reclusive neighbor (wonderfully played by Dianne Wiest), who overcomes her hermit-like condition long enough to testify in Sam's behalf. Even the social workers who insisted on doing everything to "help the child" appear to be fighting emotions over this unusual case.

The "support system", which includes several equally challenged "buddies", a very supportive employer, and many other people in the community gives evidence of our changing society, fostering inclusion and tolerance. Eventually even the prospective adoptive parents of Sam's daughter can't go on fighting against this exemplary father.

The girl playing Sam's daughter appears to be "gifted", at age 7 reading middle school material. Perhaps the "difference" between father & daughter's intelligence did not have to be in such an obvious extreme. The implication of a romantic involvement between Sam and his lawyer could have been avoided as well. The former is stretching it, but the latter is going too far. One can suspend her/his disbelief only so much! Since there are no "perfect" movies, I still consider this one pretty darn close! Highly recommended!****

DIABETICALLY SWEET SCHMALTZ, BUT VERY WELL DONE
"I am Sam" is replete with a jerky handheld finish, self-conscious art direction, the angst of the specially challenged, lots of opportunities to laugh and cry, terrific acting, and a marvelous Beatles-Plus soundtrack. The love that the entire cast and crew put into the project radiates from the scene and generates enough goodwill to forgive the occasionally languid pacing.

Sean Penn's nomination was absolutely well-deserved, and Dakota Fleming does a great job of Sam's daughter. Some magnificent supporting turns by Laura Dern, Diane Wiest, Stanley DeSantis, and two actually mentally handicapped actors, help carry the somewhat airy/sappy script through some of its less credible moments.

If you're a heartless scrimp by nature and want action in your movies, you may want to skip it, but everyone else should have a decent feel-good time with this stirring drama. ... Read more

Amazon.com

This powerful production originated on the stage of the GlyndebourneFestival. It was restaged and filmed on location for the BBC telecast preservedin this video recording. Director Trevor Nunn takes full advantage of therealism, fluidity of movement, and precision of small details that are difficultto achieve when televising a staged performance but easy and natural in a movietreatment.

Nunn's vision, conveyed by an unusually talented cast, is constantly touchingand rises to overwhelming intensity at climactic points. For example: the crapgame and fight that end in Robbins's death, the hurricane scene, Crown's captureand abuse of Bess on Kittiwah Island, Porgy's fight with Crown, the comicallysinister antics of Sportin' Life, the double-edged pathos and absurdity of thescene in which Bess gets "divorced," and the electrifying conclusion, when Porgythrows away his crutches and sets out, naively, to find Bess in New York.

Musically, Simon Rattle and all the performers find the exact style for Gershwin's marvelous score--notonly such big numbers as "Summertime," "Bess, You Is My Woman Now," "I LovesYou, Porgy," "I Got Plenty o' Nuttin'," "It Ain't Necessarily So," "I Hates YourStruttin' Style," and "O Lawd, I'm on My Way," but such smaller items as theexquisite cries of the street vendors of honey, strawberries, and crabs. Thereare no weaknesses in the cast. Willard White and Cynthia Haymon are ideal in thetitle roles, Gregg Baker is a terrifying, larger-than-life Crown, and DamonEvans is a properly slimy Sportin' Life. The white police officers aresplendidly repulsive. --Joe McLellan ... Read more

Reviews (105)

Did someone say "original" ?
I have read through the eighty-some posts here and was surprised to read over and over "I want to see the 'original' with Sidney Poitier..."

The "original" opera opened in 1935 and starred Todd Duncan and Anne Brown. Selection from this original production are available on Decca records (recently re-issued on CD). Also, on a CD entitled "Gershwin Plays Gersh