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Another John Grisham legal thriller comes to the screen, pairing Denzel Washington and Julia Roberts in a film directed by Alan J. Pakula, who is known for dark-hued suspense pictures such as Klute, The Parallax View,All the President's Men, and Presumed Innocent. The Pelican Brief isn't up to the level of those films, but it is a perfectly entertaining movie about a law student (Roberts) whose life is endangered when she discovers evidence of a conspiracy behind the killings of two Supreme Court justices.She enlists the help of an investigative reporter (Washington) and the two become fugitives. The charisma and chemistry of the leads goes a long way toward compensating for the story's shortcomings, as does a truly impressive supporting cast that includes Sam Shepard, John Heard, James B. Sikking, Tony Goldwyn, Stanley Tucci, Hume Cronyn, John Lithgow, William Atherton, and Robert Culp. --Jim Emerson ... Read more

Reviews (31)

ENGAGING, WELL MADE THRILLER JULIA ROBERTS IS SUPERB!
Juila Roberts in a great role shows her true acting abilltiy and proves she can hold her own in a serous role. Roberts plays Darby Shaw, a law student who writes a brief concering the mysterious deaths of two supreme court justices and soon is marked for death by hired killers and crooked cops. On the run she trusts no one except one man an ambitous reporter(played to perfection by Denzel Washington)who wants to keep her alive so she can tell her story. Amazing film with the right amount of suspense and intrigue, and what`s so good about this film it managed to rise above the cliches that usually surronds this genre there was absolulty no love angle between the two leads just an innocent woman on the run type of story. Based on the novel by john grisham and probably the best one adapted to the big screen. A little too long 2½ hours long but it reached a staisfying conclusion. The best scene was the On foot chase scene in the underground parking lot. Great movie a must for any Julia Roberts Fan.

Law Student Topples Government
Julia Roberts stars as a law student who writes a brief about the murder of two Supreme Court justices, and through a series of connections, the brief ends up in the hands of the FBI and the White House. Her conclusions are far-fetched but plausible, and as people connected to her and the case start dying, it's obvious she has stumbled onto something. She goes on a run for her life, aided by Washington journalist Denzel Washington, who thinks she's on the right track. Roberts and Washington are very effective in the leads, underplaying their roles and allowing the suspense and plot to drive the film. The supporting cast has a lot of big names, each one solid, from Robert Culp's goofy president to Sam Sheperd's alcoholic law professor. The truth and the contents of the Pelican Brief are gradually revealed to the audience, keeping the viewer's interest, and although the film is long, there is enough chasing and intrigue to sustain it. Only at the very end, after the climax, does the film really lose steam. Most of the last ten minutes should have been cut or rewritten. The direction by Alan J. Pakula is competent, if not spectacular, and even though I have enjoyed other Grisham films more, I would recommend this for a good evening's entertainment.

Filing My Own Briefs
Author John Grisham has certainly had many of his best selling novels, adapted for the big screen, over the years. While I have only read A Time To Kill and The Chamber, I have seen, with very few exceptions, many of the film versions. One of the best of these movies is The Pelican Brief. From its all star cast, its sure handed director, and its exciting story, the film has it all. The problems of the movie are minor.

Law student Darby Shaw (Julia Roberts) gets more than she bargains for, when she postulates her theory on the cause of the deaths of two Supreme Court Justices. It seems that her ideas hit too close to home and her name ends up on the conspirators' hit list. Shaw is forced to team up with reporter Gray Grantham (Denzel Washington), who's also investigating the story, as well. Soon the pair find themselves dodging deadly assassins, trying to find the truth, and stay alive.

Directed by Alan J. Pakula, the film is, at times very exciting. The pairing of Washington and Roberts elevates the movie past your average thriller. They are dynamic on screen and Pakula had enough sense to surround the two leads with a great supporting cast. Tony Goldwyn, Robert Culp, Sam Shepard, the late great Hume Cronyn, and Stanley Tucci, are all solid here. The film's story never rests, even during its more sedate moments. Roberts offers Darby as a strong, yet velnerable, person--this is one of her most underrated performances. The film is not problem free--a nit pick for me has to do with the way most of the politicians are portrayed it's rather stereo typical-for the story's sake. I also had a problem with the score from James Horner-too much like his work on Sneakers.

The DVD loses points for its lack of any real extras on the disc. All you get are a few production notes--that's really it. What a shame. That said, The Pelican Brief is still a fun thriller, that's recommened

A good one, and well-acted
Denzel Washington and Julia Roberts are the leads in this dark suspenseful thriller. It's about a law student (Roberts) who discovers a conspiracy behind the murder of a couple of Supreme Court justices. Then, not surprisingly, when the bad guys realize what she knows, her own life is endangered. She turns to an investigative reporter for help, and together they go on the lam as fugitives. It's not great, great, great, but the chemistry between Washington and Roberts, the fear factor of being in hiding, and a great supporting cast will keep you too involved to risk leaving to go nuke another bag of popcorn without pushing the pause button.

Good book, bad movie
I was excited about seeing this movie because I had read the book, which was pretty decent. I always like to read the book first, and then see the movie. This movie, however, does not do justice to the book.
First, the acting was very bad. Actually, it wasn't very bad, it was awful. I can't believe these other reviews that talk about how awesome the acting was from Roberts and Washington. Personally, I think Denzel Washington's acting is over-rated in every film he's ever made. The characters were just not believable. Secondly, there are several good parts from the book that are left out of the movie, or are not explained. For example, Victor Matiesse is not even seen in the movie. There is a very good scene in the book that adds a lot to the story about an agent visiting Matieese, and one of his goons stealthily kills the fibbie. That would have been great if it were included in the movie. The movie explains the killing of the justices in much more detail, and explains that they did not want the FBI protection; the movie portrays the FBI as a bunch of little schoolgirls. There are so many plot holes in the movie, that I can't see how anyone who hasn't read the book would understand what's going on. I really like Julia Roberts, but this is not one of her better films.
John Grisham has written a good novel, don't use this movie to base your opinion of his work. He writes very well though-out novels and develops the characters well, he also does a good job of explaining what is going on. This is just a very bad adapatation. I should have saved myself 2 and a half hours and picked up another Grisham novel. ... Read more

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Heavy Metal
As long as there is a need for adolescent male sexual fantasy, there will be an audience for Heavy Metal. Released in 1981 and based on stories from the graphic magazine of the same name (possibly the greatest publication to simultaneously provoke imagination and masturbation), the film has since become the most popular single title in Columbia/TriStar's entire film library. That's an amazing fact considering just how silly and senseless the movie really is--an aimless, juvenile amalgam of disjointed stories and clashing visual styles, employing hundreds of animators from around the world with a near-total absence of creative cohesion. It remains, for better and worse, a midnight-movie favorite for the stoner crowd--a movie best enjoyed by randy adolescents or near-adults in an altered state of consciousness.With a framing story about a glowing green orb claiming to be the embodiment of all evil, the film shuttles through eight episodic tales of sci-fi adventure, each fueled by some of the most wretched rock music to emerge from the 1980s. The most consistent trademark is an abundance of blood-splattering violence and wet-dream sex, the latter involving a succession of huge-breasted babes who shed their clothes at the drop of a G-string. It's all quite fun in its rampantly brainless desire to fuel the young male libido, and for all its incoherence Heavy Metal remains impressive for the ambitious artistry of its individual segments. Courtesy of producer Ivan Reitman (who'd just scored a hit with Stripes), voice talents include several Canadian veterans of Second City comedy, including John Candy, Harold Ramis, Eugene Levy, and Joe Flaherty. --Jeff Shannon

Heavy Metal 2000
Instead of cartoon vignettes that chronicle adolescent fantasies of sex and drugs in the near future, this sequel to 1981's Heavy Metal follows but one story. On a distant planet, a fountain of eternal life has been locked away by a race of supposedly wise people, who have buried the only key deep in space. If found, the key will give directions to the planet, but will also drive the finder crazy--which is exactly what happens. On his way to the planet of youth, Tyler (voice of venerable character actor Michael Ironside) wipes out most of a space colony and kidnaps a sexy woman. His big mistake is that he doesn't kill the woman's sister, Julie (voice of B-movie actress Julie Strain), who then sets out on a mission of rescue and revenge. Created with an uneasy blend of computer and traditional cel animation, Heavy Metal 2000 is utterly predictable. Even the sex scenes are bland and politically correct, eschewing the joy of dirty sex in favor of glimpses of T&A and lots of violence and gore. Of course, one big reason for this movie is to supplement its heavy metal soundtrack, which includes Pantera, Monster Magnet, MDFMK, Insane Clown Posse, Billy Idol, and others. It's probably better to think of it more as a string of music videos than as a story. --Andy Spletzer ... Read more

Reviews (7)

One classic, one NOT!
I'll give you a measure of how forgettable one of these films was- I bought the new release of the original Heavy Metal and Heavy Metal 2000 at the same time. I found myself remembering almost every scene in the original movie, even though I hadn't seen it in over 20 years. Then I watched HM2000. About halfway through I vaguely recalled that I had seen it before, but there wasn't one single scene that I clearly remembered- and I probably only saw it about three years ago. It was that forgettable, that ordinary.

Don't get me wrong; this isn't necessarily a bad film. The animation is very well done, very slick and seamless. The writing and voice acting is competent and professional. The sound track is certainly better incorporated into the animation and story than it was in the original. Everything was competently done, it was just.... ordinary. Nothing jumped out at you. It was like a Saturday morning cartoon episode- just with a little more violence, and a lot more animated nudity (animated nudity- I mean what's the point?)

Personally, I'd save my money and buy the new release of the original Heavy Metal- alone. Sure, the animation looks crude by today's standards- but it was done the old, time-consuming, expensive way of drawing one cell at a time. The original was also crammed full of a variety of different animation styles and story lines. Perhaps that was because it was the first big budget science fiction animated feature and the people involved had so much enthusiasm that they tried to do too much. In contrast, I don't think anyone got too enthusiastic about this film. Sure, they did a solid job of craftsmanship, but where is the originality, the fire, the spirit? Kind of reminds me of the original Heavy Metal magazine, it started out fresh and new and just slowly petered out to nothing....

VERY GOOD MOVIE
I MUST SAY I WAS VERY PLEASANTY SURPRISED BY THIS MOVIE IT WAS VERY INTENSE FOR ADULT ANIMATION.

Avoid at all cost
Heavy Metal- originally released in 1981- Still a great movie over 20 years later- Yes, the original 1981 version is a classic! Original and controversial stories and a classic soundtrack with style.

Heavy Metal 2000- too politically correct and nowhere near as original as it's predecessor. No risks here and no style- very sterile and predictable. I'd rather stick my thumb in my eye than be subjected to the manufactured nu-metal trash soundtrack again. Will HM2000 be a classic in 20 years?? I don't think so! I guess there was a reason that it was released directly to video!

HM2K Is Not Worth Your Attention
I began buying HEAVY METAL magazine when it was first introduced in our country (it is based on the French magazine METAL HURLANT), and when I saw the first HEAVY METAL movie in its theatrical release, I considered it a pretty good representation of the magazine--funny, bizarre, sexy in a playful way, and open to various types of artistic interpretation. The DVD of HEAVY METAL appeals to me because it preserves the characteristics that made those early years of the magazine special.

HEAVY METAL 2000, however, is little more than a vanity project for Julie Strain, the wife of the current publisher of HEAVY METAL and one of the producers of the film, Kevin Eastman. One would think that Eastman, who gained fame as one of the creators of the original Teenage Mutant Ninja Turtles, would present a new HEAVY METAL film that would have the same qualities as the original. But where HM offers violence to illustrate the depth of evil, HM2K focusses on the gore. Where HM offers a forum for various stylistic approaches, HM2K offers jarring combinations of animation techniques. Where HM tantalizes viewers with sexuality, HM2K invites us to leer. HM2K defines "gratuitous" in every scene and, in doing so, seemingly confirms every dirty stereotype about arrested adolescence in grown-ups who read comics. The only redeemable portion of the HM2K DVD is the bio on Julie Strain--the pure unintended camp of the piece is fascinating. But HM2K as a whole offers a predictable story with voice acting less animated than the standard digital recording on an answering machine. If you're looking for a recent sci-fi movie that captures the knowing, satirical and adventurous spirit of the first HM movie, buy STARSHIP TROOPERS. HM2K did not get theatrical distribution for a reason, folks. Take the hint.

I give this item two stars because the movies are bundled together. HM by itself is worth four stars, and HM2K deserves none.

OK job
Heavy metal pulled this one out of having a lower rating. Heavy Metal is a classic and deserves a 5 star rating. Meavy Metal 2000 was only a high tech, better animation, ATTEMPT to equal the original. I was sitting through HM2000 trying to figure out why someone of the caliber of Michael Ironside would do this movie. The action was OK, but in places it seemed to drag on and was too easy for the heroine to catch up to the bad guy. The plot was predictible. The movie did have good action, animation, and computer graphics though. ... Read more

Reviews (24)

From someone who knows Arlo
I am a folksinger and have known the Guthries for a very long time. I knew Marjorie Guthrie, but not woody because I was just little when he died.
I can tell you that Marjorie Guthrie loved this movie and would be very happy that people are still watching it. Marjorie died of cancer back in the 1980's.
I myself love this movie and have seen it many times. As I'm writing this, the movie is on TV right now. I ran to the computer to see if it's on DVD. I really thought it wasn't out on DVD yet but to my surprise it is and I ordered it right away. This is a movie I will love all my life time and my son too,
who I named ARLO. Please do watch this movie. It's one of the best in movie history.

Forget the song! The movie is not about the song.
....

Alice's Restaurant is about life and loss, and the traps we allow ourselves to get caught up in. It's about addiction, youth, anarchy, death, freedom, and aimlessness. It's a celebration and a lament for all those things. If the movie was given its proper due, it might be regarded as Arthur Penn's masterwork. It is a record of a facet of the human condition in the late 1960s, and it uses songs and humour as a counterpoint to the underlying seriousness of the subject matter.

See the movie. Don't expect to 'see' the song. Movies don't work that way. People who want to see a celluloid retelling of Arlo Guthrie's famous song are not giving a great director his due, and they're denying themselves a deeply moving cinematic experience. They just don't make movies like this anymore, except that another director named Penn - Sean Penn - once came close to such a true depiction of human drama with his own Vietnam era movie 'The Indian Runner', but what the younger Penn achieves with a less subtle (although no less effective) approach, the older Penn achieves in a truly realistic and understated way.

With the sixties coming back...
I did like this movie, although it isn't as much of a masterpiece as they want you to think. With the talk of the draft coming back, this movie gives this new generation of hippies (my generation, a.k.a. the young "kids" into politics and against the current war) a reason to feel there are backed by the older hippie generation. I know the music of Arlo, and enjoy it a lot. Like others have said, the song is a bit better, for it isn't as dramatic. I like to compare this movie to the Graduate, for that is a much more light hearted, 60s drama, though not about the war. All in all, I'd say I may come to own the movie, if I watch it a few more times and enjoy more and more, but I may just keep it in my head to rent again sometime in the future.

lovely
As a child I pestered my mother for information about 60's culture. One day I think she had just had enough and rented this film and the documentary Woodstock for me and said, "here maybe this can answer your questions." I fell in total love with Arlo that day as well as the rest of Alice's Restaurant. It isn't the greatest acting in the world, but Arlo's added commentary and reflections on the DVD version make it fantastic. I always smile when I think of this film and Arlo Guthrie's impact on my world. I'm smiling right now! Do yourself a favor and get this DVD, you'll love it.

You Can Get Anything You Want, At Alice's Restaurant...
I was one year old when this movie came out. Growing up I had all the influences of the 60's and none of the benefits. So I can understand how someone in their early 20s during the late 60's could identify with this movie, but I really can't relate to the lifestyle. Some of the "free spirit" attitudes just made no sense to me. The hippies seemed to have no sense of responsibility or accountability - maybe that was the point, but certain scenes didn't really stress the negative aspects of this attitude. The young mother dragging on a joint holding a newborn, or Alice hooking-up with the junkie behind Ray's back. These scenes were at the parts meant to accentuating the positive side of free spirits, not the negative; but I can't see anyone in any decade thinking a woman getting stoned holding a baby is cool. Also, the hippies seemed a little over the top in begin jerks to poor Officer Obie. Chill out, the guy's only doing his job. After all, for being hippies, Arlo WAS littering up nature. And I couldn't really get over the fact that a bunch of kids who have no jobs (Alice seemed to fail miserably at the Restaurant) could afford a huge Thanksgiving dinner or that megaparty-wedding. Where'd they get the money? Since this movie in part idealizes hippie life, I can only wonder about the reality of hippie life.

I guess I really didn't know what to expect when I rented the movie. Since the song is satirical and a little caustic, I expected the movie to be the same; but it bounced back and forth all over the place. The song "Alice's Restaurant" is fantastic as a biting commentary on the draft and the establishment, but the movie jumps from enacting the song, to showcasing the free hippie life, to a drug overdose death (which is distinctly NOT funny), to slapping women and becoming an ugly drunk. Nor was there any character development, not even with Arlo, who at the end makes the comment "I've got a lot of hard traveling to do" (like, what have you been doing so far?). The director's many messages were ultimately muddied and lost. Other period movies with much the same themes ("MASH", "Catch 22", "Harold and Maude", "Easy Rider") were more successful in getting their underlying messages across.

Ok, maybe I'm overanalyzing. It would have been pretty cool to be at that Thanksgiving dinner (although I wouldn't have wanted to deal with the War). And there are some absolutely great aspects to this movie. Probably the best is Arlo's commentary. I saw the movie a second time with the commentary on and it is an absolute riot. 35 years later that guy is STILL a crackup. The music is really very good too, especially the folk music with Pete Seeger. Arlo is a great musician. And Tina Chen is gorgeous - she's worth renting the DVD alone (kudos to the director for hiring an Asian-American to play the girlfriend at the height of the Vietnam War). So I give the DVD a solid 3 stars. It's worth a view if you have any interest in the 60's scene, and I'm sure many people will love it and want to own it. ... Read more

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It may have been underrated when first broadcast on PBS on consecutive nights in the fall of '03, but executive producer Martin Scorsese's homage to the blues is a truly significant, if imperfect, achievement. "Musical journey" is an apt description, as Scorsese and the six other directors responsible for the seven approximately 90-minute films follow the blues--the foundation of jazz, soul, R&B, and rock & roll--from its African roots to its Mississippi Delta origins, up the river to Memphis and Chicago, then to New York, the United Kingdom, and beyond. Because the absence of lengthier vintage clips is the principal drawback of the series, Clint Eastwood's Piano Blues is the best of the lot; a musician himself, Eastwood simply lets the players play, which means we get extensive file footage of the likes of Art Tatum, Oscar Peterson, and Nat "King" Cole, as well as new performances by Ray Charles, Dr. John, and others.--Sam Graham ... Read more

Reviews (10)

An Inside Look At Big City Corruption
Abraham Polonsky's 1948 film Force Of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez)who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson), Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client, mob boss Frank Tucker ( Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete texture and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time had captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are distinctly culled from Force of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker, the mob boss's wife. Upon release, Force of Evil was relegated to B status, but recently and rightfully so, it has been reevaluated as one of the most influential crime noirs in American cinema.

A Look At Big City Corruption
Abrabham Polonsky's 1948 film Force of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez) who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson) , Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with jobs and extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client-mob boss Frank Tucker (Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete testure and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along a desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are evident in Force Of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker,the mob boss's wife. Upon release, Force of Evil was deemed a B crime flick. Recently, and rightfully so, Force of Evil has been re-evaluated as one of the most influential crime noirs in Amercian cinema.

One of Garfield's best films is thankfully on dvd!
This was one of John Garfield's final films before he was wrongfully "blacklisted" & it's easy to see why it was a "major influence" on director Martin Scorsese's crime dramas. Garfield plays a wise young Wall Street lawyer who works for a mob boss in order to make money "the easy way". However, when Garfield forces his older (& weaker) brother to join the crooked organization, problems quickly arise, & there's plenty of backstabbing & double-crossing involved! I'll admit the movie starts off a little slow, but Garfield's incredible acting had me hooked in no time. The photography in this gripping film noir is simply amazing, & although Garfield's the only "big star" the cast is very good. Unfortunately, the dvd has absolutely no special features, not even a trailer or cast bios. Oh well, this classic is so awesome that I'm satisfied with the dvd release. Maybe someday a special edition will be released. If you're a John Garfield or film noir fan than this is a definite must!

Classic Garfield Noir
Force of Evil is a fine example of 1940s film noir. Polonsky's direction is crisp and the pacing perfect throughout. John Garfield turns in an above average performance as Joe Morse, a lawyer turned enabler for mob boss Ben Tucker, who is played by a not entirely convincing Roy Roberts.

Force's plot turns around the effort of Tucker and Joe Morse to monopolize "policy" (i.e., the numbers racket) in New York, and Morse's effort to keep his brother, who runs a small-time numbers bank, from being crushed in the process. It is the brother-to-brother aspect of the plot that provides the real juice for this noir, with Thomas Gomez turning in a riveting performance as Joe's brother, Leo Morse. The female lead, Doris Lowry, is played well by Beatrice Pearson, but, in the end, the character stands to serve only as a sounding board for Joe as he struggles with what he has done to himself, and to his brother.

Technically, it looks as though Artisan, a perennial purveyor of poor quality dvds, has finally gotten a release right. The transfer here is crisp with solid blacks and a serviceable grayscale. The only obvious flaw on the disc can be found in the chapter selections, where the stills for the last two scenes are reversed. The audio is quite acceptable, and the score for this work is incrementally more memorable than most. As for features on this dvd, there are none -- it's the film, and just the film. However, because Artisan must learn to walk before it runs, the absence of special features is forgivable in light of the effort Artisan has finally put into getting the film right.

All things considered, I recommend this dvd to those wondering what film noir is all about, and strongly recommend it to confirmed fans of the genre. If you know what noir is about, and are not a fan, this dvd is decidedly not for you.

fine noirish effort
Not quite on a par with the best film noirs such as Touch of Evil, Double Indemnity, and Sunset Blvd., FORCE OF EVIL is still a fine film starring John Garfield. Garfield is an attorney, caught up in a drama with an older brother, the numbers racket, and a life spiraling out of control. Excellently made, it only lacks in topnotch performances.

Truly this is not a film noir, because our protagonist is corrupt from the beginning. Still, it often gets classified as a noir; it has much in common with the famous film noirs, and I would recommend it to any fan of the noir genre, as well as fans of 1940s cinema.

I loved it. 90 minutes well spent, and I'm recommending it to all my friends.

five stars ... Read more

Description

When a mysterious wave of killings sweeps the Mafia underworld, it's Inspector "Dirty Harry" Callahan who answers with Magnum Force. Despite a demotion by Lt. Neil Briggs for his questionable methods, Harry will stop at nothing to find the killers. ... Read more

Reviews (39)

"A man's got to know his limitations."
Who can forget that line from Magnum Force? It has more than one meaning here and definitely sets the theme. Dirty Harry says it a few times in the film but it has the most impact right after Hal Holbrook meets with an unfortunate accident in his car...priceless scene. This is my favorite line Eastwood says to Holbrook in the movie, with the second being when he throws a shell casing from evidence at him saying "eat it!". Magnum Force (1973) is the sequel to Dirty Harry (1971) and this time Harry is still an outsider with his own brand of justice, but he's got nothing on the 4 young motorcycle patrol cops who don't even bother with arrests and paperwork (the criminals don't make it that far!). In Dirty Harry, Callahan chased Scorpio, the mad sniper, but in Magnum Force he doesn't have to go far to find the criminals...they work with him! Action packed and stylish, Magnum Force is essential in the Dirty Harry/Eastwood Collection. The film is directed by television director, Tim Post (Baretta, Combat!) and written by Michael Cimino (director: The Deer Hunter, Thunderbolt & Lightfoot). The cast is great: Felton Perry plays Harry's unfortunate partner who just had to open his mailbox. Look for several familiar faces before they made it big: David "Hutch" Soul, Robert Urich, & Tim Matheson. Also look for a topless Suzanne Somers (uncredited) getting blown away in a swimming pool! I can imagine Joyce DeWitt from Three's Company laughing maniacally when she saw that scene.

"A man has to know his limitations".
"Magnum Force" from 1973,the follow up to "Dirty Harry",(a movie many consider to be a classic) is not as good.Of course sequels rarely are. It does have more action and laughs.You could call it a kind of black comedy,because it is kind of far fetched. The screenplay was cowritten by Michael Cimino,(who wrote and directed "Thunderbolt and Lightfoot" with Clint Eastwood and Jeff Bridges in 1974,which was a good flick),and John Milius,who had an uncredited hand in the original "Dirty Harry". Milius wrote the now famous line,"This being a .44 magnum,...."Do you feel lucky?". It turns up again here right after the opening credits for "Magnum Force". It came out just two years after the original,both were Christmas releases, and it was just as big a hit.They both made about the same amount of money.

The producer and writers had in mind to answer the critics who called Harry Callahan a fascist and a vigilante.Clint Eastwood said in an interview in 1997 about him being called a fascist,"that was just nonsense.Harry was just very concerned about the rights of the victims.What's the matter with that?" The late Gene Siskel also disagreed with those critics. He said "if Harry were to encounter Mussolini or Hitler,he would have popped them to".The critic Roger Ebert calls Harry "extremely fair, he'll shoot anybody". "Magnum Force" is well paced,has some good action sequences and a good chase scene and it does get intense.But,the plot is hokey and it's a little too violent at times.This is not a movie for the kiddies. The cinematography isn't nearly as good as in the original. It doesn't make very good use the San Francisco locations. Lalo Schifrin's score is good though not as inspired as in the original. It's still better than many so called cop movies that have come out since.Like certain bloodthirsty,sadistic mayhem released in the '80's and '90's. In the funny book "Real Men Don"t Eat Quiche" from 1982, the author Bruce Feirstein put "Magnum Force" among those movies real men will pay hard cash to see. Feirstein had a couple of dozen on the list including "Patton","Rocky",some of the James Bond movies,only the ones with Sean Connery,"North Dallas Forty" among others. All these movies are for men only.

Some trivia,Clint Eastwood said in an interview that this story was inspired by the Brazilian death squad of the 1950's.Actor Robert Urich appears as one of the rookie motorcycle cops,this was Mr.Urich's movie debut.Also,a then unknown Suzanne Sommers appears in the swimming pool party scene.Ms. Sommers scenes have her showing off a ring she just received and where she takes her bikini top off in the pool.(Not so shocking since she did do a layout in PLAYBOY about ten years later).Her name didn't get mentioned in the credits.And,Ms.Sommers gets blasted along with the other unfortunate people at the party.And,remember "a man has to know his limitations".

My Favorite Dirty Harry Sequel
Okay... before I begin, I must tell you I am a bit prejudice. I actually saw a scene from this movie being filmed. I lived in San Francisco and in 1973 was walking up the hill to Lafayette Park as they shot some scenes in a high rise apartment building.
I was fascinated as they shot the scene over and over to get the "tension" just right.

Now it is on DVD 30 years later. It has never looked better. Color corrected true wide screen picture, and a soundtrack that is crystal clear.

2 of the vigilante officers are played to perfection by "pre-Starsky" David Soul and, in his first role, the late Robert Urich. The scene in the darkened garage is still powerful in it's quiet threatening tone. It is SO CLEAR the cops enjoy wearing their elegant uniforms and tall boots, leather creaking and chrome gleaming in the dark... an awesome and memorable moment when those who are sent to protect and defend, go over the edge so confidently, quietly and in their minds, logically. It is still very frightening.

Tell Warner Brothers to release the WHOLE film!
The people who assembled this DVD should be ashamed of themselves - the whole film is not there!

One of the most hilarious scenes in the original version of Magnum Force was when the crooked cops are chasing Harry around inside the (very dark) hull of a ship. Every time a shot was fired down there, there would be at LEAST six or seven loud, cartoon-like ricochets. The fact that this might really happen when all of the walls and ceiling are solid steel does not take away from its comic effect. Well, when they remastered the film for DVD, they took all of the ricochets out!

They also cut out some of the sting operation where three hoodlums hold up a convenience store.

Magnum Justice
This is the second of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool in 1988), Eastwood had aged and times had changed but Callahan's non-negotiable values and unorthodox methods had remained essentially the same. In this film, directed by Ted Post with a screenplay co-authored by directors John Milius (e.g. Conan the Barbarian) and Michael Cimino (e.g. The Deer Hunter), the essential premise is that the same legal systems and law enforcement systems to which Callahan so strongly objects have encouraged others to become vigilantes, four of whom serve as police officers under the direct supervision of Lieutenant Briggs (Hal Holbrook). They target and assassinate those whom the "system" has failed to keep off the streets. Of course, Callahan has no sympathy whatsoever for those eliminated. However, he is uncomfortable with the vigilantes' methods (if not their motives) and with what the ancient Greeks -- but not Callahan -- would characterize as their hubris. Eventually, there is the inevitable and obligatory confrontation with them. (Guess who wins?) Those who enjoy this film should also check out The Brotherhood of the Bell (1970), Death Wish (1974), and The Star Chamber (1983) in which Holbrook also appeared. ... Read more

Reviews (21)

This is a great film if you love Rick Springfield' s music.
I really enjoyed "Hard to Hold" even though the critics trashed it, but then they've trashed everything Rick Springfield has ever done. I guess he's just too handsome, charming, and nice to be taken seriously as a musician or as an actor. Rick puts more of himself into his live concerts than any performer I've ever seen on stage and yes, I have seen Bruce Springsteen and Pink Floyd. Yes, I confess the dirty little secret: I'm a devoted fan of Rick's, and frankly "Hard to Hold" was exactly the movie I wanted to see as a fan. Great music and a romantic rock star falls in love with an ordinary girl story line. It's not exactly Wuthering Heights--although I'd bet Rick could do a great Heathcliff--but it features some of my favorite Springfield songs and a great message: You'd better love somebody because at the end of your time on this earth the love is all that really counts. This movie is a must for all Springfield fan and romantics! Do you believe in love and happy endings? Get yourself a big bowl of buttered popcorn and curl up with "Hard to Hold." You won't be disappointed.

AREN'T WE ALL HARD TO HOLD
ALL US GIRLS ARE HARD TO HOLD!! SOMETIEMS OUR MEN DO NOT KNOW HOW TO HOLD ON TO LOVE THAT IS TRUE. I SAW THIS MOVIE YEARS AGO AND I JUST OREDERD IT AGAIN BECAUSE I WANTED TO SEE THAT SEXY RICK AGAIN AND RELIVE THE LOVE AGAIN. AND TRY TO GET MY MAN TO BE LIKE RICK. HA HA SOMEDAY. ANYWAY I AM GLAD I FOUND THIS OLD MOVIE AND PLAN TO WATCH IT OVER AND OVER AND DROWL OVER RICK.
CHAT LATER, KIM1202

The fundamental things apply...and this movie proves it!
With the exception of Christopher Reeve's Somewhere In Time (1980), Rick Springfield's 1984 first full length major feature film, Hard to Hold, is probably the most underrated movie in the 80's romance film genre! Both were viciously rejected by the critics at the time, but discovered by the people one by one, and now both movies enjoy a cult following appeal and are frequently amongst the highest rented videos in most stores!
The commonalities between the two movies are readily evident. Both male characters are successful in creative fields (playwright and rock musician), both are feeling like "there's got to be something more than this" in their lives, they both are seek an enduring love, and both find it with women who are technically "unattainable".
That is where the similarities end. SIT is mired in the 1910's, and H2H is definitely a product of the 80's which still resonates with people today.
Musically, SIT was out of touch with the "Me generation.". While SIT is set to a Edwardian era highly sentimentalized "hearts and flowers" heart-fluttering, sugar sweet instrumental soundtrack, the highly charged, "living on the edge" rock music and lyrics in H2H captures the true spirit of the state of love and romance in the post-sexual revolution America where cynicism was more in effect than sentimentality. The songs are still sung today-Love Somebody still rings true today as it did back then as does Bop till You Drop and Stand Up!
Rick, as Jamie Roberts, almost appears autobiographical-as he did have a HUGE screaming teen fan base at that time which at times appears to have helped and hinder his career. In fact, the buttoned up female protagonist, Diana Larson, played by actress Janet Eilber, dismisses him and his musical style as "bubblegum" and expresses an affinity for crooner Tony Bennett. Come on, who admittedly listened to Tony Bennett back then? (Ok I did...but so what? I'm an anonmaly!)
Well, apparently, the way to that woman's heart (and bed) was through a Tony Bennett song. Let me tell you if someone hired a singer to serenade me, I'd leave my "heart in San Francisco" in a New York minute! How incredibly romantic is that? Yet, they don't drown us in sentimentality. I found it shocking at the time that they would talk about STI's so casually in a movie like that, but they were "keeping it real" in a society that not only expected it, but demanded it!
As for Rick's acting performance in H2H, my question is "Who's acting?" Every move he made seemed to be natural and an extension of himself. Janet's performance is reminiscent of Andie McDowell who would play in the 1994 romantic comedy 4 Weddings and a Funeral. Both actresses, in my view, appear more like cardboard cutouts instead of potentially passionate women-which was too bad. It made the movie drag a bit. I also enjoyed Patti Hanson's "songwriter-on-the-verge-of-nervous-breakdown" jealous ex-girlfriend. You want to hate her, but you really can't. She's just trying to make sense of her own angst, and let's face it, it's never easy to say goodbye, is it?
When I first saw the movie back in the 8's, I was not really ready for it. Far from ready. At the time I was very conservative and when the "fireplace scene" came up-the kinds of emotions and longings it stirred up in me freaked me out so much that I immediate shut off the video and drove it back to the store. I would not view that video again for at least 19 years!
I rented the video to hear Rick singing-and was rewarded with a fabulous commentary on the state of love and romance in the 80's! Now I play that fireplace scene over and over again. Not just for the majorly heartstopping sensuality of it all (the horniness factor, I must admit, is there!) but for the real "exposure" of two strong willed people who are willing to take a chance and be emotionally vulnerable to each other as well. Now that's truly a story to be told. So subtle, but so powerful at the same time.

One of the things I appreciate about this move is that it chronicalizes a time in our recent social history when it was often easier to give your body to someone than it was to give your heart. Presently, in this era of AIDS and so-called "family values", it seems like everyone wants to re-write their own history. Today, courtships are played out by the "Rules" and to hear people talk everyone was as chaste as the driven snow! I say not if you came of age in the late 70's and early 80's!
Back in the day, one- night stands were the rule, not the "exception." And no one used the "L" word for fear of appearing weak. Throughout the movie, Diane tries so hard to be a "modern woman" and act like it's a physical thing only. Only once does she tell Jamie she "cares" about him but it was Jamie who took the REAL chance on declaring his love for her during that famous "fireplace" scene!
It transcends time and space-that need to love and be loved. What woman wouldn't give her left arm to have someone look her in the eyes soulfully like that and whisper, "I love you" And mean it? Just the thought moves me to tears as I write this. In my not so humble opinion such a emotionally gripping love scene would not play on the screen again until the 1997 blockbuster Titanic.
Whether it is the 1910's, or the 2000's, love is "hard to hold" but well worth the attempt. As the classic song about another relationship involving a man named Rick says, "the fundamental things apply...as time goes by" and viewing this movie two decades later PROVES this fact!
I can watch this movie now, and while it is not in the Gone with the wind or Casablanca class, it does have a message of its own-primarily this: even if love sometimes seems Hard to Hold onto, don't give up! Hang on, enjoy the ride, take the risk...and if it is truly right-NEVER let it go. A rather positive and timely message especially applicable in this post 9/11 culture of fear and uncertainty where nearly everyone wants a "sure thing" when life holds no guarantees.

a memory picture
(my english is not good).
when i saw this picture i began to play the electric guitar, love somebody's song was a special theme to me.
now i play this type of music: BRYAN ADAMS, RICK SPRINGFIELD, JOURNEY, NIGHT RANGER, REO SPEEDWAGON, ETC.... 80's music.
¿what do you think?. i want to know if i can to buy this picture FROM CHIHUAHUA, MX., send me a e-mail to tell what i have to do.

thanks......

great for Rick Springfield fans & anyone who loves the 80s
I love this movie. I gave it four stars instead of five because the script is admittedly weak in places and the directing makes it look like a TV movie rather than a feature film. But none of that obscures the positive points of the movie.

It should be obvious that this film will hold the most appeal for fans of Rick Springfield. He is a much better actor than one might assume and plays some of the awkwardly-written swings of his character well. Janet Eilber does a good job as the conservative "ordinary" woman his character falls in love with. The weakest performance in the film is Patti Hansen's, as the rocker's songwriting partner and former girlfriend. She works hard but can't overcome the stilted dialogue she's given in most of her scenes.

The best part of the movie may be the music. The majority of the songs in the film are written and performed by Springfield and will be familiar to fans.

Not a great film, but one I enjoy a great deal. If you're a fan you will feel the same way. ... Read more

Amazon.com

Jean-Claude Van Damme, a.k.a. "the Muscles from Brussels," had only a few movies to his credit when he played the hero in this lame postapocalyptic action flick from 1989. It's really just another martial-arts movie, dressed down with near-future trash and dirty sets that have "low budget" written all over them. Van Damme plays the protective escort for a half-human, half-cyborg woman whose programming contains a possible cure for a plague that's threatening to wipe out the entire population of Earth. But the woman is kidnapped by Van Damme's evil nemesis (is there any other kind?) while they are en route to her Atlanta headquarters. That leads Van Damme right into a lion's den of sadomasochistic torture and torment. If you've made it this far (and if you have, why?), you're probably a founding member of the Jean-Claude Van Damme fan club. To everyone else: Don't say you weren't warned--this is the kind of movie in which naming characters after electric guitars (Van Damme's character is named "Gibson Rickenbacker") qualifies as clever screenwriting. --Jeff Shannon ... Read more

Reviews (47)

Pure Entertainment
I remember watching this movie several times a year when I owned it as a kid. I never forgot about it, and kept promising myself that someday I will buy it. That promise has not yet been made, but I just now saw the film on TNN, and it was like watching a new movie because I didn't remember any of it. And let me just tell you...forget Jackie Chan, Jet Li, Bruce and all those other quaky (entertaining, but quaky) martial art films. Cyborg blows them all away.

I've seen other Van Damme films (God were they horrible). This is the only one that captivated me. The fight scenes were just so realistic. You don't got a guy climbing walls like he's spider man throughout the entire film, or jumping off buildings or flying around like he's a bird - he actually gets hurt and falls to his knees every now and again. It's not like the Matrix where you're just sitting there waiting for the guy to win - you really feel the pain of Jean-Claude's character when he gets cut or kicked.

All the reviewers are correct. There is hardly any dialog to this film...because it's an atmospheric film. You remember the Shining? No dialog on that one either, just pure atmosphere. And let me tell you, the doomsday world that this movie depicts was mind blowing. It really delivers to the viewer a sense of utter desolation. Everyone in the film is maniacal - totally out of their minds. It's the Drak Ages all over again, where little differentiated bewteen both sexes, and women actually faught in wars, at times accompanied by their children. Take Escape from LA, and combine that with REALISM, and that's just the world you'll enter when you watch this film.

Jean Claude did such an excellent job of playing a traveling vagrant consumed by the nightmares of a seriously disturbing past. His only priority in life is to kill the Cyborg that killed him a long time ago. The world is at the mercy of an awful plague, and even when the doors of a possible cure is open to him, all he can think about is vengeance. Note the face he makes when he first sees the Cyborg after years of searching for him. The hatred was so well defined in every contour...I was thinking, 'My God, I would NOT want to be that Cyborg!'

Well, whatever he had in mind, it didn't turn out so well. His nemesis proved to be quite...unstoppable.

The music in this film has got to be the best I've ever heard in any action film. It plays along perfectly with the atmosphere and the fight scenes. Slow, but hard pounding. Very nice touch. The whole movie was choreographed with the utmost of precision. Right on target with each kick and punch. Had me totally captivated. Get this film if you're not much for that cheesy stuff that comes from all these popular Chinese directors that is totally fake, (with the exception of a few Bruce Lee films). Jean Claude's character actually carries a gun around which in most martial art movies, this element lacks (Hey, a gun is more effective than a sword. Am I right or am I right?) And he is not afraid to use it, but tries to conserve his ammunition by fighting (bullets and guns are scarce in this upside down world). Lots of battles with sharp bladed weapons too. I mean, this movie has it all.

Van DAMN!!!!
Jean-Claude Van Damme was 28 when he made CYBORG, a low budgeted, post-apocolyptic martial arts adventure. At that time in his career, he'd made his name through a number of low budget, B-quality kung fu flicks. I liked BLOODSPORT, all the more so, becuase it's based on thrue events in the life of kumite champion Frank Dux, and Van Damme was definitely the right guy for the role.

Then there's KICKBOXER, which, like BLOODSPORT, shows Van Damme as an apprentice on a vendetta with a Mike Tyson-esque Muy Thai champ. That movie is distinguished, if nothing else, by the final battle between Van Damme and Tong Po, who was played by Van Damme's close friend Michael Quissi (though he was still credited as Tong Po.)

Then came CYBORG. It was released it 1989, and starred Van Damme as a martial arts master named Gibson Rickenbaker living in the post-apocolyptic ruins of New York. He finds himself rescuing a cyborg codenamed Pearl Prophet (Dayle Haddon) from a murderous gang of hooligans led by the sadistic Fender Tremolo (Vincent Klyn). Seems Pearl has detailed information on how to sythesize a cure to the plague that has caused all the chaos and is on her way to Atlanta to give the info to the last scientists. Tremolo and his gang would do anything to get ahold of the information and rule the world. It up to Gibson to save Pearl.

Now, I'll admit that when I was short on cash, and I had a choice between buying CYBORG or TIMECOP, I went with the latter, but I almost immediately after ordered CYBORG over the internet, and it was well worth it. As another customer pointed out, the fights in CYBORG are amazingly realistic and show Van Damme getting hurt and taking just as much of an butt kicking as he dishes out. (In a particularly brutal scene, Gibson is battered and exhausted, and gets beaten to a pulp by Tremolo.)

The movie has sort of a ROAD WARRIOR quality to it, the bigeest difference being the budgets of the two films. The villians and even the good guys dress in ragged clothing, like THE ROAD WARRIOR. The land is basically deserted, and there is an utter feeling of helplessness and anarchy. That's the essence of post-apolyptic action films.

Bottom Line: CYBORG is a great movie in my eyes, because it shows that in any martial arts movie, what is at it's heart is the fact that the hero can have all the strength, speed, and power in the universe, but no matter what, the hero is always human. In other Van Damme movies, like STREET FIGHTER, UNIVERSAL SOLDIER, TIMECOP, REPLICANT, or DOUBLE TEAM, he was a righteous fighting machine, but he could still be hurt. Even in THE MATRIX movies, Neo was the Chosen One, capable of fantastic, inhuman feats, but he was still just a man, he could be beaten to the point where he would cough up blood, but he had the spirit to back him up.

And so it is with CYBORG. Gibson is a fantastic martial artist, but he could be beaten up almost to death by a bigger, stronger opponent. He got into certain situations where he would have to rely more on what he had inside than his blackbelt status. That's what truly makes a great karate flick, having a fighter who has fantastic fighting skils, or even superhuman powers who has the the heart and will to win. CYBORG is such a movie.

Scary future indeed! An underrated classic.
As far as JCVD movies are concerned this is terrific, and anyone expecting Schindlers List stay clear. I will recommend this movie to people who are fans of movies like Soldier (Kurt Russell) and even the other Albert Pyun movie Nemesis. Hey, i would go as far as saying that this film shares many qualities as Mad Max 2: The Road Warrior. They both take the cake for having the best villians in the history of cinema, Fender and Vernon Wells. This movie really is a guilty pleasure and also contains many disturbing scenes and religious undertones predominant in the sci-fi genre; such as Blade Runner, but it also manages to understand clearly what kind of movie it is trying to be - a gritty and scary martial arts flick! I'll back this film up and also the underrated Christopher Lambert flick Fortress till the day I die. Just don't expect an intellectual martial arts film, I even doubt if there are many, except for Crouching Tiger, Hidden Dragon and The Matrix and any other that takes itself too seriously. Just expect a good old fashioned B-Movie to watch with a couple mates and a 6 pack of beer with some intelligent (arguable) ideas padded throughout. The DVD is worth purchasing, as it features an interesting 8 page booklet, a fine non-anamorphic widescreen transfer with occasional grain, but rather clean and sharp with vivid colours. The dolby surround is a little dissapointing but still throws a lot of sound into the rear speakers. This works wonders with the terrific music score! Long live JCVD. A truly underrated star who has a deserved cult following. I know he's not the best actor on the planet, but his films have a cheesy charm all the same. I liken him to Keanu Reeves, a man who can't act well, but is damn entertaining nonetheless.

One of Pyun's best
I hope you will forgive me when I tell you I have a crushing headache as I write this review. Why? Because I devoted several hours of this sunny day thinking about not one, but two, of Albert Pyun's films. Pondering the importance of "Ticker" and "Cyborg" to the cinematic world wore me out in ways I would not think possible. Pyun, if you are not familiar with his oeuvre, constructed his B movie credentials by releasing such classics as "The Sword and The Sorcerer," "Nemesis," "Mean Guns," and "Postmortem." He's a hack's hack in the hack world of zero budget schlock. Not to pound you over the head with it, but watching a Pyun film often resembles in no little way craning your head out the window to see that car accident on the freeway. Initially, you are intrigued by what you might see only to realize later how low you feel as a human being for looking at scenes of abject horror. Ok, I am exaggerating slightly. "Cyborg," the 1989 film that launched the dubious career of Jean-Claude Van Damme, is one of Pyun's better efforts. In fact, it is one of the few movies in his canon I can watch on a regular basis and not feel too badly about it the next day.

Here's another film dealing with life in a post-apocalyptic world. Gibson Rickenbacker (Van Damme) arises from the ruins to play the part of a Good Samaritan. He tries to help survivors of a plague flee from the ruined cities to the countryside, hopefully so they can reconstruct some semblance of a normal life. Rickenbacker, as the hero, of course has an unpleasant memory of one of his missions. He tried to save a family and ended up falling in love with a woman. You don't need me to spell out what happened next. Ever since this unfortunate incident, Gibson struggles with what he should do next. When he runs into a woman named Pearl Prophet (Dale Haddon), a cyborg attempting to carry a cure for the plague back to the Centers for Disease Control in Atlanta, he must decide whether to resume the role of hero. Why not take part in helping Pearl carry the antidote? This mission could turn Rickenbacker into the savior of the world. Unfortunately for Rickenbacker and Pearl, Fender Tremolo (Vincent Klyn), a scary looking dude with weird eyes and a mechanical voice, and his gang of like-minded cyborgs have their own ideas. They think if they can capture Pearl and get her to Atlanta, they will control the future of the world.

When Prophet falls into the hands of Tremolo's gang, Rickenbacker decides to get her back. With the help of a mouthy young lady he picks up along the way named Nady Simmons (Deborah Richter), Gibson lurches from one violent confrontation to another. Thugs fall to the ground like leaves as the two pursue Tremolo with malevolent intent. Numerous showdowns in burnt out and broken down buildings provide Pyun and Van Damme with plenty of opportunities to showcase martial arts madness. Kicks, punches, and blunt and sharp instruments-anything you can think of that will cause damage to a human or cyborg body finds a use in this movie. And for the most part Pyun carries off the action well, much better than he has in many of his other movies. You are surprised that you actually root for this guy who speaks English like he just walked off a boat. Before feelings of giddiness carry you away, however, you need to reconcile yourself with a few of the cheesy aspects of the movie. Nearly all of the characters are named after musical instruments, the outfits look like the film crew robbed a New Wave band's wardrobe closet, and the dialogue tends towards the insipid. Still, "Cyborg" entertains as few Pyun films do.

"Cyborg" works largely due to the gritty, blasted urban background that the characters move through. It is here, in the ruins of civilization, where most of the action takes place. Moreover, the picture quality of the film (probably as a result of poor film stock) has a dirty look to it, which actually gives the movie a better, more realistic atmosphere. I even thought Pyun tried to inject a philosophical statement in the film (yeah, right) when we see Rickenbacker staked to that ship's mast. Is Gibson a Christ figure "rising" from the grave to help save the world? Maybe, but I'm probably reading more into "Cyborg" than the director intended. Sure, the acting could be better-lots better-and the fight scenes are a little over the top, but why else would you watch this movie? You don't expect Oscar performances and you don't get them. What you do get is an entertaining way to spend eighty plus minutes (the movie doesn't run for even an hour and a half).

The DVD version is strictly bare bones. If memory serves me correctly, the only extra on this disc was a trailer. Too bad, but a bit surprising considering this is officially a cult classic. It's interesting to note that none other than Cannon, the company that released TONS of low budget action flicks in the 1980s, helped fund this effort. Charles Bronson benefited from Cannon's attentions back then, so why not Van Damme? I recommend "Cyborg" not only to fans of action films, but even to fans of science fiction since the movie takes a stab at incorporating both elements under one umbrella. Is it intelligent cinema? Nope, but who says it needs to be?

This Movie Has a Message
I realize this movie is campy by today's standards, so only someone who watched it back in the day when it was a different era in movie making can appreciate it. I'd say you'd have to be at least 25 to enjoy it, because of it's sentimental and nostalgic atmosphere.

If you can get past that, it's actually really good. I've always enjoyed postapocalyptic reality-of-life depictions. The music is a bit much, but it does portray survival of the fittest in a realistic sense. The characters beat each other up a bit unbelievable and the breaking-himself-off-the-cross scene was absurd even then, but the fight scenes are well done and closefaced showdown scenes were gold. Definitely one for the collection. ... Read more

Reviews (6)

Beware if you have a widescreen TV...
This is a fine presentation and packaging of the seventh (and weakest) of the Crosby-Hope "Road" series. True fans will want this for their collection, and I agree that Hong Kong is not as bad as it is often portrayed. In the era of Austin Powers, this film actually picks up some points for kitch; it was arguably the first spoof of the '60s spy thriller.

But there is one very unfortunate flaw in this DVD version. Even though this is the first release of this movie in widescreen, this DVD is not optimized for widescreen televisions. So if you have a wdiescreen TV this movie will appear letterboxed on all four sides, the frame of the picture will not fill out your widescreen from left to right. This is an infuriating lapse on the part of MGM.

Watch it for Peter Sellers short but stellar bit!
This isn't nearly as bad as often made out to be. For one thing these guys were ALWAYS to old for these antics, otherwise they would have been making them in the 1930s. By this time their timing was down pat & frankly the writing here seemed a lot sharper than the previous entries. But the real reason to watch this is a terrific hilarious & all too brief turn by Peter Sellers as an Indian doctor that is as funny as anything Sellers or anyone else ever did on screen.

Road to Hong Kong
Definetly not the best of the Road pictures but mildly entertaining and worth having to complete the Road collection.
Both Crosby and Hope are noticably older and really don't have the magic with Joan Collins like they did with Dorothy Lamour and the jokes are trying to be funny instead of just being funny.

Hillarious, My Family Constantly Quotes This Film!
most often left out of lists of the popular "road to. . ." movies is road to hong kong. many people don't like it, but it is my favorite, it actually has a plot! (until the very end where it gets kind of odd) the story is about harry turner and chester babcock, con artists who, when the film begins, are on the eve of their newest scheme. they have hundreds of paying investors into an innovation that is supposed to use this rocket space suit thing and cause someone to fly. when the "brave native" that was supposed to demonstrate the suit backs out, turner and babcock have to come up with a plan. turner forces babcock in the suit and chester ends up flying through the roof of the warehouse where the demonstration is being held.

poor chester.

next we see harry visiting babcock in the hospital discovering that chester has lost his memory. he doesn't remember what girls are and what he did with them, what money is and what he did with it, and he can't even remember his own name. The former two seem to be of great concern to him.

harry feels terrible and takes chester to the best doctors he can find. a few of them tell him about a monestary where a memory herb is used. harry and chester find that this story is true and go to the airport. it is at the airport that they meet up with diane, a secret agent for a group called the third eschelon. she thinks that chester is her contact and gives him a secret formula that is needed to send a rocket into space. this third group apparently wants to beat russia and the u.s. to space and threaten to drop bombs on them unless they don't accept rule under their force.

at any rate, i won't reveal too much, but it is a very very funny film -- especially the bannana scene. i laugh so hard each time i see it. to me the chemistry of hope and crosby is at its finest. if you love the other road movies, then maybe you will not like this departure -- but there is so much more of the "real world" woven into this pic, you cannot help but love it. also, peter sellers' cameo is fabulous as an insane doctor, so buy this film or rent it today. (i have it on vhs but am waiting impatiently for a DVD version to come out, I wonder why they haven't released it) oh, and there are of course some sterotypes in the film, but don't let them offend you and enjoy the chemistry of the characters!

I loved it!
I know that many people consider this the worst of the Road movies, but I would consider it my favorite. While dissapointed in not having Dorothy in there more than just a cameo appearance, I think the rest of the movie makes up for it! The banana feeding scene was the best! (Hope and Crosby being tested in place of the monkeys on the spaceship) This movie also had some other good cameo appearances. ... Read more

Amazon.com

Sam Peckinpah knew he couldn't call a movie Bring Me the Head of Alfredo Garcia and get away with it. That's why he did it. When he undertook this nakedly personal project, in self-exile in Mexico, the director was a deeply bitter man out of favor with critics, the media, and the Hollywood establishment, which had just released his Pat Garrett & Billy the Kid in a mutilated version. "Bring Me the Head..." sounded like the parody title of an ultraviolent Sam Peckinpah movie, and he flung it in our faces just as his onscreen surrogate tosses the titular object at the camera.

Thing is, the movie is a masterpiece--raw, shocking, beautiful, and brave--in which Peckinpah confronts his enemies and his own demons. Warren Oates plays a gringo piano-player stuck in Mexico who hears that some powerful men are willing to pay a bounty on a guy he knows. They don't know the guy is already dead, killed in a car accident. It'll be easy to exhume the trophy and collect the money--except that it will cost our seedy hero everything he has and ever wanted.

John Huston's Treasure of the Sierra Madre had always been a key legend for Peckinpah; this film is a subterranean re-imagining of it, with Oates as both the son of Fred C. Dobbs and the carnival-mirror reflection of Peckinpah himself. And Isela Vega's performance as the sainted whore Elita--bruised and worldly one minute, radiant and clear-skinned as a child the next--is an act of grace. --Richard T. Jameson ... Read more

Reviews (31)

Lesser-known Peckinpah classic
Bring Me the Head of Alfredo Garcia is a dark, raw Sam Peckinpah modernized western that has finally been released on DVD.When a rich Mexican rancher's daughter gets pregnant out of wedlock, the rancher offers a bounty of $1 million for the head of Alfredo Garcia, the man who impregnated his daughter.Two of El Jefe's, the rancher, lieutenants enlist the help of Bennie, a down on his luck piano player, to help them find Garcia.Along with his girlfriend, Elita, Bennie embarks on a journey through Mexico to find Garcia and take his head.However, what Bennie sees as an opportunity for a new life, Elita sees as something completely morally wrong.This is an incredible movie to watch as you follow Bennie's journey.It is raw, basic, and violent.I've read that the Bennie character is basically Sam Peckinpah's real life persona, and you can see this easily. This movie isn't as well known as some other Peckinpah movies like the Wild Bunch or The Getaway, but don't let that stop you from seeing this movie.A must have for Peckinpah fans!

Warren Oates is excellent as Bennie, the down-and-out piano player who becomes obsessed with bringing in Alfredo Garcia's head for a reward.It is a shame Oates did not get more starring roles in his career because characters like this allowed him to show off his acting ability.Isela Vega plays Elita, Bennie's girlfriend who isn't sure if they should go through with the mission.Vega is very good, but her part is distracting as she is topless for much of the first hour.The cast also includes Robert Webber and Gig Young as Sappensly and Quill, the rancher's lieutenants, Helmut Dantine as Max, Emilio Fernandez as El Jefe, and Kris Kristofferson in a small part as Paco, a wayward motorcyclist.The DVD offers widescreen presentation, a good commentary track with Peckinpah scholars/biographers, and a theatrical trailer.For an excellent Peckinpah movie at its most basic, check out Bring Me the Head of Alfredo Garcia!

This movie is a hoot!The ultimate road trip movie!
Alfredo Garcia is a Mexican Don Juan who gets the wrong girl in trouble and her father, the patron of a great Mexican estate, puts a big bounty on his head.Pekinpah regular Warren Oates is a loser expatriate American making his living as a piano player in a lowlife Mexican bar.(You'll recognize him as the deserter who got shot in Major Dundee, and one of the two brothers in the Wild Bunch, the guy who when drunk got engaged to a Mexican prostitute, "Boys, I'd like you to meet my fiancé.")Since he knows Alfredo he is offered $10k (which was worth a lot more then than it is today) to murder Alfredo and bring back his head as proof.Oates quickly discovers that Alfredo has already died.He therefore departs on a road trip to a remote Mexican graveyard to get the head and claim his reward, taking along his mistress a gorgeous but aging Mexican prostitute who obviously is of mostly European descent.Along the way they encounter various lowlifes and other bounty hunters.Robert Webber and Gig Young, two well known middle-aged actors of the 1960s, are American goons who are hired by the same employers to make sure that the job gets done right.It turns out that Alfredo has a large family and his relatives, for some strange reason, object to the removal of his head from the grave.Then Oates has to collect his money from his employers who are not exactly sterling characters either.This movie is a hoot!Oates has some really great lines that you have to see to believe.Kris Kristoferson appears briefly as a lowlife biker.The violence is pure Pekinpah.If Mexico didn't exist I think that Pekinpah would have had to invent it.Besides this movie, they go down to Mexico in the Wild Bunch, Major Dundee, and even at the very end of the Getaway.If you like those other movies you'll probably like this one too, although it has a darker mood to it.Also, Warren Oates has to carry this movie by himself, he doesn't have the big stars with him like in those other movies.

No One Loses All The Time...
I loved this film! The late great Warren Oates stars as a woeful anti-hero out on a quest for the head of Alfredo Garcia. He's being paid by a wealthy rancher's lieutenants to bring back proof of Garcia's death, his head. Only Garcia died in a car accident and has already been buried. I don't want to give away the entire plot. One of the criticisms of this film was that it was too violent which I found surprising considering that the violence was pretty mellow by today's standards. Most of the film consists of drama dialog between the anti-hero and his woman. The dialog between characters makes this film the masterpiece what it is. I highly recommend it.

Road Trip From Hell
Possibly the most difficult Peckinpah film to watch, this nasty 70's gem is interminable in its first 45 minutes, then the remainder of the movie reaches a near frenzy of suspense, murder, and the usual ambiguousness Peckinpah was known for.

The viewer can count on the usual Peckinpah trademarks:
-Gratuitous violence towards women;
-Balletic, slow-motion graphic violence;
-an unlikeable anti-hero;
-consumption of mass quantities of hard alcohol;
-a sometimes rambling narrative;
-a nihilistic ending.


This is not to say this movie is bad; far from it. At times it approaches the level of self-parody, but Peckinpah had a story in his mind he wanted to capture, and he does so in his inimitable fashion.


The road trip consists first of Warren Oates and his girlfriend seeking the head of the titular character, then the road trip evolves into Oates transporting the head, sans girlfriend, to the Mexican land baron who put the price on the head. Along the way, many people die in beautifully edited slow-motion as only Peckinpah can do.


Plot holes aside, it is a very gripping movie once it kicks in at about the 45 minute mark. Look for Kris Kristoferson in a cameo as a filthy biker/rapist, as well as Robert Webber and Gig Young as stone cold killers/businessmen.

This movie, along with Straw Dogs, cemented Peckinpah's reputation as a misogynist. As mentioned above, there are plenty of scenes of women being physically abused for no apparent reason, so those of you with feminist girlfriend's/wives may want to watch this after they've gone to bed.


I'm still trying to figure out how Warren Oates transported the head aboard AeroMexico!

Head Cheese
"Bring Me the Head of Alfredo Garcia" plays like a parody of Sam Peckinpah films with one distinction:Peckinpah directed it.This may be purely intentional on the part of Peckinpah in response to his critics for the excesses in his films.I think.The first hour or so kind of meanders redeemed by the tender exchanges between star Warren Oates and Isela Vega.Every now and then Peckinpah interrupts these moments to exploit the obvious charms of Vega in the buff.There's even a bizarre quasi-rape scene with Kris Kristofferson playing a biker.It's not until the film's second half that it kick's into second gear as Oates retrieves the aforementioned title head.Oates' conversations with the head and his efforts to preserve it so he can collect the bounty on it can only be described as the darkest of dark comedy.Of course there are other interested parties who would love to relieve Oates of his booty so naturally it would not be a Peckinpah film without gunplay and gratuitous bloodshed done in glorious slo-mo.An interesting entry in the Peckinpah canon but not on the level of "The Wild Bunch" or "Straw Dogs". ... Read more

Reviews (5)

Boring travesty of Le Carre's work.
I love Le Carre and was looking forward to this film. But what a mess! The plot is a mishmash -- after about an hour I no longer cared what might happen to the protagonists. Excellent actors like Ralph Richardson and Anthony Hopkins are wasted in secondary roles. Other reviewers say that this movie was edited to death and I believe it. Save your money. Maybe they'll release Spy Who Came In From The Cold on DVD some day.

Could have been . . . .
This movie was edited to death and dullness. Crucial scenes were obviously cut which threw the plot out of joint and into inaction. It could have been, and probably was before editing, a dandy cold war spy flic. It is worth three stars for historical value.

Cold War performance from Christopher Jones
This is an excellent cold war film competently acted, well scripted and neatly directed. It is a superb adaptation of John Le Carré's best-selling novel. Paranoia runs rampant here. Christopher Jones is brilliant as the civilian turned spy. Christopher Jones should have gone on to greater things. His pinnacle as an acto