Description

Through no fault of his own, artist and lady's man Richard Nugent finds a love-besotted teenage girl curled on his sofa. Through no fault of his own, the teen's sister is a judge who "sentences" thunderstruck Richard to date the girl until her schoolgirl crush wanes. Circumstances aren't kind to Richard. But they certainly are hilarious when Cary Grant plays Richard, Myrna Loy is the judge and Shirley Temple is the teen. ... Read more

Reviews (15)

Funny, 40's Screwball Comedy
The Bachelor & The Bobby Soxer is an amusing, feather-light comedy about a playboy artist (Cary Grant) who to avoid jail is commended by a judge (Myrna Loy) to date her seventeen year old sister (Shirley Temple) who has a major crush on him. The move is made to curb the playboy excesses of Mr. Grant and to help get him out of Ms. Temple's system. Mr. Grant shows off all his comedic skills as he plays up the part by dressing like a teenager, adopts the slang of the day and makes a fool of himself in athletic events. For those use to seeing Ms. Temple as a preteen, will be surprised to see her as almost an adult. Ms. Loy is a bit too icy and stern in her role, but she's such a good actress, you can look past that. The film won an Academy Award for Best Original Screenplay for Sidney Sheldon who would go on to create I Dream Of Jeannie and become a best-selling novelist.

"The Power of Whoo-doo!"
I rented this movie and watched it last night--hadn't seen it in close to thirty years since I was a little girl--and nearly freaked from the deja-vous experience of hearing the "You remind of a man/what man?/the man with the power/what power?/ the power of whoo-doo". And my older sister knowingly said, "Yes, TutorGal, this is where that comes from." I used to chant and chant that as a kid! So much for memory lane; now down to business about "The Bachelor and the Bobby Soxer." The movie has a bit of a slow start, with pretty static direction, up until the point when high school student Shirley Temple sees ladykiller artist Cary Grant at high school assembly delivering a lecture. Pow! she sees him as a knight in shining armor and is off to corral him. She doesn't know of course that big sis judge Myrna Loy has just had him in her courtroom and has formed a low opinion of his reputed womanizing. Shirley even finds a way to gain access to the unknowing Cary's apartment, where he then unjustly gets slammed with a jailbait charge. Hey, where's this going? Well, Myrna and her assistant DA beau Rudy Vallee decide that the only way for Shirley to get over Cary is for him to date her and probably bore her with his adult ways. And of course, nothing works out like anyone has planned, least of all smug Myrna. As I wrote above, the movie really picks up after about 15-20 minutes and then becomes quite hilarious, with Rudy Vallee particularly good as an eccentric WASP, the sort of thing he does so well . Cary appears to be genuinely enjoying himself, and Shirley has certainly grown to be a real cutie. Myrna's okay, but nothing spectacular this time around. Make a date to watch "The Bachelor and the Bobby Soxer" and see the whoo-doo first hand!

Witty and Fun
I simply adore this movie. It's pure silliness and you'll want to watch it with a friend so that you can occasionally tell them "You remind me of a man..." Pick it up to see a teenage Shirley Temple and to laugh out loud at the wit and ridiculousness of it all. A guaranteed smile. :0) If you like this, you'll want to watch "I was a Male War Bride" as well.

Amiable, Slight
A rather uninspired but harmless enough movie that goes around the world and back again to establish its goofy premise. Cary Grant gets many chances to show off his flair for physical comedy, Shirley Temple is no less grating as a young adult than she was as a child, and Myrna Loy (who I watched this for) is in the movie a lot, but never given very much to do.

Grant fans will probably enjoy this one, but fans of Loy can find vehicles that better display her talents.

Grade: B-

1940's Revealed
Want some insight into what titillated movie-goers in the post-war 1940's? This 1947 RKO production is a good place to start. There's the marquee value of a seductively handsome Cary Grant coupled with that spunky symbol of all-American innocence Shirley Temple, enough at the time to draw in ticket-buying throngs with its naughty innuendo of daring departure and forbidden pleasure. In fact, the underage subtext lingers beneath much of the movie's plot and humorous settings, but in a totally innocent manner, proving that this is not yet the more permissive 1960's. One slip, however, and this light-hearted souffle could easily have become burnt-toast of the most tasteless variety. Fortunately, there are no slips.

Once the pace picks up, this comedy sparkles as brightly as any other Cary Grant madcap, which is to say, about as good as comedy gets. The night club scene is an absolute triumph of timing, staging, and scripting. The laughs build as the party table becomes more and more chaotic, interrupted by one petty annoyance after another, finally reducing the worldly Grant to speechless exasperation. This is the type of soaring comedic architecture that requires real artistry, but has been sadly replaced in contemporary film by a dumbed- down world of bathroom jokes, insult gags, and other cheap forms of humor that appeal mainly to juveniles. The movie itself, directed by an unheralded Irving Reis, is literally brimful of bounce and charm, leaving no one in doubt that the big war is over and America is ready for the future even if its libido is showing. With: a slyly endearing Ray Collins, a bemusedly prim Myrna Loy, a pompously befuddled Rudy Vallee, and a well-deserved Oscar for writer Sidney Sheldon, along with a final scene that could not be more apt. Despite the shift in public mores, audiences now as then should find this a highly entertaining ninety minutes of expert movie-making. ... Read more

Description

Tale about Apu and his family, as they move to the city, where they encounter more tragedy, forcing Apu to become a man and make choices about the life he will lead. Written and directed by award-winning filmmaker Satyajit Ray. ... Read more

Reviews (8)

Sarbajaya's Struggle for Meaning
This is the second film in director Satyajit Ray's Apu Trilogy and is best viewed after Pather Panchali and followed by The World of Apu. Harihar (Kanu Bannerjee) takes his wife, Sarbajaya (Karuna Bannerjee) and their son Apu to live in Benares. Their family home has been destroyed in the monsoon and with the loss of their daughter, they are struggling to cope emotionally as well as financially.

I found this movie to be more about the struggle Sarbajaya (Apu's mother) faces on a daily basis. She is an example of a woman who has given up her desires for the good of her family. As she cares for her family on a daily basis you can see how she is sinking into the darkest of depression. Not only is she terribly lonely, she does not fully recover from the loss of her daughter. While she is surrounded by members of her immediate community, she seems to strangely isolated and alone and the unfulfilled desires of her heart seem to weave an invisible and yet debilitating cocoon around her soul.

Throughout this movie, her sacrifice becomes even more beautiful as it allows Apu to see some of his own dreams come to fruition. Apu's father makes his living reading sacred texts by the shores of the Ganges River and then suddenly falls ill. Apu must continue his education and find his own way in this harsh world.

I love the scene where Apu pretends to miss the train and when his mother worries about what they are feeding him at school. The first few scenes also show birds sitting on umbrellas and then taking off suddenly. Could this be a foreshadowing for the situation in which Apu finally finds himself? I found these movies have quite a few "foreshadowing" moments that I only recognized on the second viewing. Which is why the Apu Trilogy must be watched more than once to be fully appreciated. These are finely woven stories that deal with the deepest human issues we all must face at some point in our lives.

~TheRebeccaReview.com

Essential
Good print quality; no DVD extras; the movie is outstanding.

The middle film of Satyajit Ray's Apu Trilogy
As with the first film in Apu trilogy, I once again find myself more interested in one of the women in the story than Apu himself, although the young boy (Pinaki Sengupta) has turned into an adolescent (Smaran Ghosal) and finally has something to do. In "Pather Panchali" it was Apu's sister Durga, while in "Aparajito" ("The Unvanquished") it is his mother, Sarbajaya (Karuna Bannerjee). After the tragic death of Durga and the destruction of the family's home, Harihar (Kanua Bannerjee) has taken his wife and son to live in the big city of Benares. Harihar makes a meager living reading sacred texts by the holy Ganges River and selling herbal remedies. But when he falls ill Sarbajaya has to learn to cope on her own and takes Apu to the country, where she works as the cook for a wealthy family. Meanwhile, Apu turns out to be an excellent scholar and does well in school. Eventually he goes away to the university in Calcutta. Sarbajaya does not want her son to go, but she cannot stop him and while she waits patiently for him to come home she get sick and grows weaker.

The climax of this film comes when Apu finally learns of his mother's illness and has to decide if he will stay for his final exams or return to her side and skip the exams. Based on the novel "Aparajito" by Bibhutibhushan Banerjee, at the heart of Satyajit Ray's film adaptation is the performance of Bannerjee as a woman who has lost everything in the world except a beloved son who is to busy to even bother to write her a letter (like father, like son, for those who have seen "Pather Panchali"). This film is not as powerful as it predecessor, but that is invariably true of all middle films in a movie trilogy, and the finale, "Apur Sansar" is a great climax. However, there is also the fact that Apu is not a particularly sympathetic figure. We appreciate that he is good at his studies, but that and life in the city consume him while his mother sits at home, getting weaker, and wondering when she will see him again.

Two of the pillars on which Ray's cinematic success is based is his cinematographer, Subrata Mitra, who had been a still photographer when Ray drafted him to film these movies, and the then unknown Ravi Shankar, whose music often takes the place of voices in these films. When they gave Ray his honorary Oscar in 1992, shortly before the director's death, they cited him: "For his rare mastery of the art of motion pictures and for his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world." Individually and collectively, the Apu Trilogy certainly provides ample evidence in support of the claim.

My Favorite of the Trilogy
This was my favorite of the three Apu films, perhaps because it has the most time without prolonged misery. This film was much easier to watch than the first. If you had trouble with that film, I would recommend you first watch the 2001 NZ film Rain before moving onto this film. Rain was obviously strongly influenced by Pather Panchali.

By moving us slowly though Apu's life in the three movies, Ray shows us the world as it appeared coming out of a small rural Bengali village. In the first film, Apu's father ventured out of the village, but the cameras never did. In this film, Apu makes it to medium sized towns, and eventually to the Bengali Manhattan of Calcutta.

If you enjoyed these films, I would recommend looking up the 1960 film "A Cloud-Capped Star" by director R. Ghatak. For a look at an upscale Indian life that Apu would never see, Mira Nair's 2001 hit Monsoon Wedding is a nice antidote to Ray's brand of Dravidian misery (although I recommend watching it on DVD with the English subtitles on to ease understanding).

As to the DVD quality of Aparajito, its really no better than the VHS tapes readily available, although its nice to see that the film is at least getting some attention. Ray's "Days and Nights in the Forest" (1970) and "Distant Thunder" (1973) are also long overdue for restoration and re-release.

Uplifiting and touching...A must see.
Aparajito, or the Unvanquished, follows the life and transition of the child Apu, who is first introduced in Ray's film, Pather Panchali, to a responsible young man. This movie is about many things. About ambition and duty, about a mother's selfless love for her son, about growing up and new discoveries. We cannot but share in the wonder of the innocent and intelligent Apu, as a young man, when he comes to the big city Calcutta, from his home in the closed and remote village. Ray brings home the sad but unavoidable fact of life, that the little birds must leave their nest once they grow up to search for new horizons. Again the movie touches us all, for there is a Aparajito within us all, the undaunted soul which pushes us to strive for our dreams. This movie pays tribute to that undaunted Aparajito who is hidden somewhere within all of us. ... Read more

Reviews (14)

Amother Excellent Chevy Chase Movie!
This, to me, is by far much funnier than the first Fletch movie. Irwin Fletcher, investigative reporter, is back in the sequel to the original film, 'Fletch'. This time, he's quitting his job as a distant relative has died and left him a mansion. He arrives to find he's in the middle of murder plots and dodging bullets.

Chase dons lots of disguises in this film, as he did in the first, but these disguises are more numerous, and funnier than before. There is some adult humor, as is the norm with Chevy Chase movies, but not a lot of it. This is a must have for Chase fans, or comedy fans in general.

More Fletch but Less Script.
This is a fun movie if you a)love Fletch; b) love Chevy Chase; and c) use the dull moments to use the restroom and replenish your snacks. Fletch fans will love the new characters that reporter Irwin F. Fletcher creates for his new setting. The basic story line is interesting and the cast features a ton of talent and well known actors. However, it moves a little slow and doesn't grab your attention like the original.

On what seems like as stroke of luck, Fletch ends up inheriting a mansion in Louisiana and quits his job to settle in. Things don't turn out as expected and Fletch turns to his investigative reporter tactics to get to the bottom of it.

Put it this way, if you've seen Fletch and can recite every line of the movie (like me and a half dozen of my closest friends), you will want to see this one, too. You will probably like it after having seen it a few times. But if you're new to Fletch or Chevy Chase, stick with the first Fletch movie, the first Vacation movie, the first Caddyshack movie (notice a trend here?), Three Amigos!, Spies Like Us, Funny Farm, The Groove Tube, Foul Play and reruns of Saturday Night Live from the 70s

A fun sitcom

Director: Michael Ritchie
Format: Color
Studio: Universal Studios
Video Release Date: May 4, 1999

Cast:

Chevy Chase ... Irwin 'Fletch' Fletcher
Hal Holbrook ... Ham Johnson
Julianne Phillips ... Becky Culpepper
R. Lee Ermey ... Jimmy Lee Farnsworth
Richard Libertini ... Frank
Randall 'Tex' Cobb ... Ben Dover
Cleavon Little ... Calculus
George Wyner ... Gillet
Patricia Kalember ... Amanda Ray Ross
Geoffrey Lewis ... KKK Leader
Richard Belzer ... Phil
Phil Hartman ... Bly Manager
Titos Vandis ... Uncle Kakakis
Don Hood ... Tom Barbour
Dennis Burkley ... Joe Jack
Noelle Beck ... Betty Dilworth
William Traylor ... Mr. Underhill
Barney D. Arceneaux ... Party Guest
Roy Babich ... Klansman
Mary Battilana ... Bly Assistant
Don Brockett ... Sheriff
Walter Charles ... Tony
Robert M. Dawson ... Tour Guide
Darren Dublin ... Ancient Copy Boy
R. Bruce Elliott ... Info Technician
Patrick Farrelly ... O'Reilly
Grace Gaynor ... Mrs. Underhill
Richmond Harrison ... T'boo Ted
Catherine Hearne ... Lyda Perl
Charlie Holliday ... Security Guard
Christian Kauffmann ... Bruce
Matthew Kimbrough ... Bly Guard
Johnny Kline ... Usher
Clarence M. Landry ... Damon Feather
Marcella Lowery ... Selma
Jordan Lund ... Deputy Sheriff
Tom McCleister ... Klansman #2
Patricia G. McConnell ... Deputy's Wife
Dick McGarvin ... Announcer
Keith Mills ... Church Elder
Michael P. Moran ... Morgue Attendant
Louis M. Rapaport ... Walter Bob Buggem
Constance Shulman ... Cindy Mae
Robert Silver ... Kakakis Brother
Ebbe Roe Smith ... Jim Bob
R. David Smith ... Gordon Joe
John Wylie ... Accountant

Amusing film about an attempt by nefarious forces to buy ancestral land bequeathed to Fletch (Chevy Chase) by his late aunt. Chase is his usual hilarious self. The plot is a bit confused, but becomes clear as the story develops. The background scenery of the old south, with its ivy covered mansions, Spanish moss covered trees and swamp is reminiscent of Georgia around the Okefenokee swamp, but without the alligators and cottonmouth moccasins (although reference is made to the latter.)

This is a fun film to spend an evening with. Some allusions to sexual miscopnduct in a jailhouse scene by Chase and Tex Cobb (Ben Dover), but nothing too raunchy. It will pass for an over 13 auduence, I think.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance

and other books

... And A Franchise Dies
An absolutely horribly film that should never have been made, FLETCH LIVES tries to capitalize on the comic genius of the masterful Chevy Chase ... but this story about little more than cookie-cutter real estate scams ends up being written on paper that would've better served the bottom lining of a bird cage. Even Chase's talents can't lift this dull bomb out of the stink pile.

With all of the other options available from Fletch creator Gregory McDonald, how could this have happened to what could've been one of the greatest comedy franchises in cinema history?

Be afraid. Be very afraid. Then, be aghast.

Hilarious Movie
Director Michael Ritchie and Chevy Chase team up once again for FLETCH LIVES, with Chase reprising the role of Irwin "Fletch" Fletcher, newspaper journalist and master of disguise. When his recently deceased aunt bequeaths her decrepit manor to him, Fletch travels down south to rural Louisiana. Initially, things go well, especially when he hooks up with a flirtatious southern belle. But when he wakes up the morning after, he's shocked to find that she has been murdered. In order to catch the killers and clear himself, the intrepid, chameleon-like Fletch must infiltrate the congregation of Jimmy Lee Farnsworth (R. Lee Ermey), a greedy local preacher who wants to gain control of Fletch's land in order to build a Bible-themed amusement park. Written by Leon Capetanos, FLETCH LIVES crackles with the same blend of rapid-fire dialogue and visual jokes as the original, making it a solid sequel that works on its own terms. By thrusting the big city character into a shady small Southern community, Chase is given an entirely new field on which to play. It's this contrast--especially between himself and R. Lee Ermey--that provides the film with its loudest laughs. ... Read more

Description

Born the bastard son of a hundred maniacs, demented killer Freddy Krueger is back for fresh victims in this hallucinatory shocker co-written by original creator Wes Craven (Scream 1, 2 and 3). The last of the Elm Street kids are now in a psychiatric ward where Freddy haunts their dreams with unspeakable horrors. Their only hope is dream researcher and fellow survivor Nancy Thompson (Heather Langenkamp of the original "Nightmare"), who helps them battle the supernatural psycho on his own hellish turf. ... Read more

Reviews (129)

One of the better installments of the series
After the waste that was Nightmare on Elm Street 2: Freddy's Revenge, Wes Craven returned to co-write this third installment (which thankfully ignores anything that happened in Part 2) with director Chuck Russell (The Scorpion King) at the helm. Here we are introduced to Kristen (Patricia Arquette) who is admitted in a mental institution with other teens who all share the same dreams of being stalked by a familiar razor clawed killer. An older Nancy Thompson (Heather Langenkamp returning in her role from the original film) is now a dream specialist and she tries to help the kids, and the final solution is to enter the dream world and do something no one else has dared do: beat Freddy at his own game. Dream Warriors is one of the better installments of the series, and the return of Langenkamp and Craven as a co-writer are reasons why enough, but Russell's great direction helps elevate Dream Warriors above many of the other films in the series. My only problems are this is where Freddy began to pop out one liners and be funny, and while that is amusing itself for a while, it does get boring and Freddy just doesn't seem as scary after a while. Also, the film can be a bit cheesy at times, and don't even get me started on the theme song done by Dokken. Laurence Fishburne has a small role, and John Saxon has a brief returning role as Nancy's father. All in all, next to the original film and New Nightmare, Dream Warriors is the best in the series, but sadly most of the remaining films in the series would continue a downward trend.

Elm Street 3 delivers well designed sequel by series creator
After a lackluster 1st sequel, A Nightmare on Elm Street 3: Dream Warriors, attempts to take the series back to its roots. It has been an unmarked amount of time since part 2 and Freddy has returned since then to slaughter the children of the parents who murdered him. Our prime location changes, for the first time, from Nancy Thompson's house to an asylum full of kids who are scared to sleep. A new patient, Kristin Parker (played by Patricia Arquette) arrives and also dreams of a red and green sweatered man with knives for fingers. The doctors decide that all these kids need is a good night's rest and usually sedate them. Sadly, this leads to the children being unable to awaken fro their Freddy nightmares.

A suprise entrance by Nancy Thompson (played by Heather Langenkamp), who has not been seen since Elm Street 1, is a welcomed addition to this movie. Her past with Freddy adds immediate extra excitment to the film when the killer lays eyes on her and whispers only "... you..."

The film shows off group unity against Freddy instead of the usual kill-off-one-by-one formula. Another first for the series is the deaths become much more spectacular. And Freddy's darkness begins to fade in favor of quip one-liners.

Overall, I do not know exactly what Wes Craven's role in this movie was, but this sequel remains hailed as the best sequel in the series. A huge step up from part 2 indeed.

psycho therapy
a burnt up freak is nasty to look at and child murder is disgusting in the very least.at least theyre teens so its not quite as bad.the teens are in a asylum in this one and freddy comes to thier dreams to hack them up again.they explore dream powers and use them to ward off his attacks.if you let your kids under 12 at minimum watch this,someone should lock you up.even at 12,this is an abselute minimum.16 is far better.wes craven dreamt this one up.his movies-with the freddy exceptions-all suck!#3 is the best of them all!scary?not really.intense?you bet!a nurse chick takes off her top just before trying to kill one of the patients.she was really freddy who used the dudes wet nurse dream to lure him into a deadly trap.as with all the freddy flicks,all the male stars are losers and the chicks arefly by night hussies.the special effects rock in this one.there are 8 parts to this series now,the last one where freddy and jason went at it.who knows whats next.i thought up freddy vs jason in the mid 80s.hollywood is just so slow.

Three down... four to go
Sigh... it seems the further I delve into the 'Nightmare on Elm Street' movie series, the more underwhelmed by the 'scariness' of it all. Was this stuff really considered horrific when it first came out? Personally, I think it's more of an unintentional comedy, 'cuz I laugh most at the nightmare/death scenes, rather than get all shocked an grossed out by them.

On the upside, I found quite a few of the various deaths and gags shown here rather creative, if not particularly chilling. The blood-vessel-stringed marionette sleepwalk, the giant Freddy-worm tryin' to chow down on a potential victim, one little lady's "big break in TV", Freddy's syringe-finger attack, and the wheelchair-from-hell were some of the more entertaining pieces in this flick. I also kinda liked the return of a couple characters from the first 'Nightmare' to help out our little wacko-ward-imprisoned dream warriors. Might as well try to get the fans of the original flick to come on down to the 'Plex after the downright silliness of Part 2, heh. Speakin' of the dream warriors: another cool angle they threw in here was that of the heroine leading a group of teenagers against the main man to try & take him out once and for all-- which, judging from the subsequent sequels, was ultimately unsuccessful. Which reminds me of what that kid in 'Last Action Hero' said: "Ya can't die 'til the grosses go down!" And yes, I DO like 'Last Action Hero', thank you very much! And yes, I AM ashamed of this fact...

Also included-- with the help of a mysterious nun-- are a couple more revelations regarding the origin and back-story of everybody's fave undead Christmas-sweatered dreamland slasher, which judging from the films I've seen seems to be a standard gimmick they throw into each 'Nightmare' flick. Eh, I guess slow, incremental character development is better than no development at all, hmm? And I'm glad to see they improved Freddy's 'burn' makeup job, which looks a little bit better than the one in the first flick, and a LOT better than what I saw in part 2!

Following the closing credits featuring a little tune by 80s hair-metal group Dokken (remember that whole MTv "Rockin' with Dokken" dealy goin' on at the time this came out? No? Me neither), the VHS edition of this film includes a teaser trailer, and interview sessions with the various creative folks involved in the project. Ya know, the director, producer, writers, and such. I tried to watch this particular segment all the way through, but after five minutes of watching & listening to these guys prattling on about 'taking Freddy back to his roots' and other such pretentious pap, I rewound the tape and returned it immediately to the place I rented it from. Sheesh, and I thought those endless effects-laden 'traveling inside of V'Ger' scenes from 'Star Trek: The Motion Picture' were tedious to sit through!

'Late

Best out of them all..!! -A clever script..!! -By Wes..
A Nightmare on Elm Street 3: -Dream Warrior's.. -1987.
Is the best out of them all.. -But is no excuse too
ignore the zany Part 2. -Freddy's Revenge. -Executive
producer. -Wes Craven.. -No what he was going two do.. -Is two
deliver a power house bomb.. -So he did.. -With the

clever.. -Dream Warrior's. -I herd that Robert Englund
did a pitch.. -Which was; -"Welcome too Prime time..!
Bitch..!" -Great line.. -Mr. -Englund.. -I've also
enjoy the beginning sequence.. -Such as Kristen ho
gets two sleep.. -Wake's up in the yard of the old
Thompson House.. -Now decaying and Rotting.. -Kriten
here's scratching noise.. -Which is Freddy's own

Claw.. -Kristen walk's up two the house.. -What is
the best thing of this sequel.. -That we get the Elm
street children.. -Jump roping.. -Singing that 1, 2
Freddy's, -comming for you.."? -I loved that tone it
has.. -A lot better then what Jesse Walsh's
sister in her bedroom..!

I also love the scene where Kristen is running from

Freddy after a huge explosion in the furnace.. -As
we see the skulls of dead children.. -What a moment..!
that was.. -And, -finding the butchard children
hanging in his hellish room.. -Which has full of
them..! -Really creepy..!

Then Kristen wakes up a scream.. -Run's in the bathroom..?
she turns on the sink.. -As Freddy's arm pops up two
life.. -A memorable moment their..? -But their are a
lot of memorable moment's in the Mental Hospital..?

Such as the girl getting her head suck in the T.V.
Set.. -By the powerless evil Freddy..? -I've also enjoy
where the kid walk's like a puppeter at the begining of
the hospital..! -And Freddy make's him fall's too
his timely death..

Freddy soon know's how the kid's work on their power..?
but the kid's won't know how too defeat him.. -One by
one they die off.. -The kid's are not that smart..!
but Kristen.. -Joey and Kincaid survive two.. -A
Nightmare on Elm Street -4: -The Dream Master..

Though.. -This is a great script..! -We've have the
nune ho talk's about Freddy being raised up by his
1'000. -Maniac's.. -Which is my favorite thus far
from the movie.. -I've also enjoy the ending.. -Which
down right suck's.. -Such as Nancy being gutted by
Freddy..

Director.. -Chuck Russell give's us a strong movie.
and the music is differ from Part's, -1, -2..

But; -Dream Warrior's.. -Knew what it was doing..
It just want's two entertain us with it's own imagination.. ... Read more

Amazon.com

The late, much-missed River Phoenix had his first starring role in A Night in the Life of Jimmy Reardon, one of the more unusual teen comedies of the 1980s. Jimmy (Phoenix) is a lower-class kid whose parents have gotten him into a wealthy school, where he hangs out with kids who can't comprehend not having money. Jimmy puts the moves on almost every girl he meets, including Denise (Ione Skye from Say Anything and Gas Food Lodging), the girlfriend of his best friend Fred (a very young Matthew Perry, who has gone on to huge success on the TV show Friends), even though his own girlfriend, Lisa (Meredith Salenger), is about to move to Hawaii. On the evening of graduation, Jimmy ruins just aboutevery relationship he has and wrecks his dad's car along the way. A Night in the Life of Jimmy Reardon is based on a novel that screenwriter-director William Richert wrote when he was 19, and you can tell--the movie is full of self-aggrandizing gestures, bad poetry, and wounded looks. But despite that--or because of it--the movie also has something of the genuine chaos of late adolescence, when you start to realize that the dreams you have might not be what you want, and that your worst fears might not be the worst that could happen. Phoenix is a truly charismatic presence, though his fresh face is a bit at odds with his scamming character. The movie isn't a cinematic Catcher in the Rye, but it's exploring the same troubled territory. --Bret Fetzer ... Read more

Reviews (11)

A Simple Twist
The ending of this movie had an interesting twist which I myself enjoyed, or found funny, but others might hate. I reccomend watching this movie ONLY if you HAVE SEEN any of River Phoenix's other movies already. If you see his style of acting first then you will know why River himself didn't like making the movie that much...although I did love the ending.

Excellent coming of age film / River's talent
I remeber this movie in 1988 quite well because I was transfixed by River Phoenix's character. Based on the novel by Bill Richert "You never said goodbye" Phoenix plays Jimmy a smooth talking charming kid from a working class family who moves to the richer side of town. Hangs with these rich kids who are the type to die if they ever lost their money. While trying to impress and win the heart of the one girl who ever really got to him his girlfriend Lisa ( Meredith Salenger) before she moves to Hawaii. He gets himself into hard situations and troubles just about every relationship he has by sleeping with his best friends ( Mathew Perry) girlfriend, has sex with his mothers best friend. Then smashes his fathers car up in the course of one night. River's character in this film is the type that has a charisma that makes it hard for people to say no to or stay mad at. A funny teen angst movie excellent performance by River Phoenix they couldn't of casted anyone else for this role. One of my favorite 80's coming of age films worth viewing.

one of my favorite movies of all time
i went through alot of trouble to see this movie when i was a kid. my mom let me rent it after i looked for it all over the place. i searched everywhere and then i found it at a blockbuster. she said for me to rent it but that she had to watch it with me because she didnt want me watching r rated movies. so i said okay and we went home to watch it and after time after time of having to put my hands over my eyes (and peaking through my little fingers and smiling) jimmy started getting it on with joice fikkit on the floor and mom said for me to go to my room and i was unable to finish the movie.
then finally i go to a friends and we rent it on her dads card because he didnt care what we watched. then of course i could rent it at home because "mom, ive already seen it". this movie was out of print for years but now its on dvd.
jimmys got this holden caufield, rebel without a cause thing with him. in the process of trying to get what he wants he screws things up i guess thats why as 23 year old ive grown to connect with jimmy. i think anyone who has chased the person they love out the door after they chased them out knowing that the person will never come back can appreciate this movie. i think anyone who enjoyed catcher in the rye would appreciate this movie and yes even though i dont like connecting old movies to new ones because i like the old ones better. i think if you liked igby goes down youll find a place in your heart and your movie collection for jimmy.

a past one night stand informs jimmy falsly that she needs his college fund so that she can get an abortion and now jimmys got 36 hours to get his life situated. during this 36 hours jimmy can have any girl he wants but jimmy doesnt want just any girl what he wants is lisa. jimmy finds out his girlfriend lisa is moving to hawaii and he is bound for an all male business school. once jimmy can get the money for the plane ticket he will be destined for a life in hawaii with lisa where she has declared she will go all the way with him.
during these 36 hours jimmy manages to get himself into more trouble than most could manage in years. (based on the book "jimmy reardon" also titled "arent you even gonna kiss me goodbye" by william richert) if you find this book get it when you see it, it is VERY hard to find. i searched for about 10 years and i just got a copy today

River...
I am a teen boy and I can relate to River Phoenix. He is hot and great in this movie about a sexually frustrated teen. Matthew Perry stars as his "friend". A good teen movie from the 80's. River, you are missed...:(

Not River's best,but interesting.
A hard film to review this one. I'm tempted to say it's a crock of ..., but I'm a Phoenix fan. And while the direction is uninspired (and at times downright sluggish), Phoenix is as usual engaging. The supporting actresses are all very unique and decidedly quirky - particularly amusing is the underused Louanne as Susie, and Matthew Perry in an early role as Phoenix's best downtrodden friend is amusing.

Director Richert worked with Phoenix again in Gus van Sant's My Own Private Idaho, this time acting. ... Read more

Amazon.com

The third of Eric Rohmer's Four Seasons romances follows theindecision of a young man who juggles three women during his final summerbetween school and work. Drifting along the beaches of Brittany while waitingfor his commitment-shy girlfriend, Lena, to meet him, Gaspard (Melvil Poupaudof Diary of a Seducer) becomes fast friends with pretty waitressMargot (Amanda Langlet, the grown-up Pauline of Pauline at the Beach adecade earlier) and has a fling with Margot's aggressive and sexy friendSolene before Lena finally shows. By then, Gaspard has inadvertentlycommitted himself to all three women. It's a lovely portrait of awkwardnessand ambivalence set against the gorgeous land and seascape of Brittany, andpopulated by pretty young performers.

This, the most understated of Rohmer's sex farces, carries a bittersweetsting, but little of the emotional effervescence of his best films. Whilethese characters are no less pretentious or vulnerable than his other lovers(who all seem to be emotionally at sea), Rohmer just skims the surface oftheir emotional revelation. His greatest achievement is the evocation ofyoung adults caught between their teens and 20s, with little real experiencebut full of easily sidelined ideals. In the best Rohmer tradition, thecircular conversations and solipsistic monologues are neither glib norpretentious, merely the immature but sincere ramblings of vulnerable youthplaying adult games. --Sean Axmaker ... Read more

Reviews (5)

what a fresh french movie!!! I'm still in love with it!
I really don't have words to describe how sweet and delicated this movie is!!! I am still so in love with this movie; it can make me fly, just like in a dream... And the story is so real... Everyone can live a beautiful and modern story like that. When will I wake up from this fresh dream?

A very sweet story
Well, first of all i'm absolutely enchanted by the film. It's amazing how this script can be so simple and so interesting at the same time. Everything is perfect, specially the beautiful beaches of Britanny and the magnificient perform of Amanda Langlet as Margot.
There he was, Gaspar a young musician tourist, resting alone from his Maths studies in a paradisiac island dealing with cross-relations with three uncomparable women: Lena, wild beautiful but without any brain, Solene beautiful, determined and warm, and the lovely Margot, the most interesting character in the hole story, his friend and listener of his youth emotional confusions about the other two girls. I think Eric's design the Gaspar character as a perfect grown-up teenager...I don't believe how can a boy could not fell in love with a girl like the no less good-looking Margot. In fact she is very very beautifull...i confess i wouldn't resist to her charming presence.
My sincere congratulations to Amanda Langlet, you've conquered a big fan!

the convolutions of young love
Thoroughly enjoyable. Though I found the "I've learned nothing" ending a little difficult, but probably realistic. The characters are interesting and engaging, and in the case of Margot, enchanting. Though we may not have all experienced exactly these circumstances, the youthful difficulties of sorting out love and attachment ring true.

A Rohmer Gem
Summer's Tale (1996), dir. Eric Rohmer (Winstar DVD, 2000)

Reminds somewhat of Claire's Knee, similar lush landscapes, water resort type of setting, plenty of gorgeous beaches somewhere in the Atlantic side of France (Brittany), and of course typical Rohmer cinematography (Diane Baratier). Immensely entertaining, despite minimal action.

This is the third of a series of Tales of the Four Seasons (reminding of Vivaldi's?), and possibly the most enticing. Like most Rohmer's stories, it isone of relationships on the verge of dissolution, or, rather, in a state a flux. No relationship in a Rohmer tale seems to be of a permanent nature-all seem to evolve, shift, fade, and come to life only to fade again, like the direction of a wind on the sand dunes.

The format is similar to the others: one male, making choices between several females; one female choosing and rejecting suitors (Autumn Tale). Almost always, it seems a question of choices. In this case, a young man, Gaspard (Melvil Poupard), arrives at this seaside resort, to compose music on his guitar, while awaiting the arrival of his girlfriend Lena, who is to be there soon in the company of some cousins. Gaspard seems to have nothing else in mind but his music, but he does attract the attention of a young waitress, Margot (Amanda Langlet), with whom he starts a sort of platonic relationship. He has a Master's in mathematics, and she is a Ph.D. in ethnology. They take several walks together and exchange ideas, but no romance evolves. Margot is delicate, respecting his attachment to another girl, but evidently she likes him. Another girl, Solene (Gwenaelle Simon), vacationing there with her uncle and aunt and some friends, makes a stronger and more physical impression on him. But he is held back when she tells him that "on principle" she doesn't sleep with anyone on a first date. She in an in-between situation, having just "dumped" two former boyfriends. Solene does like Gaspard, though, but when he tells her he is waiting for Lena, she attempts to force him to make a decision: either her or me. Gaspard, not used to making decisions, wavers. Lena arrives in the meantime, but she, quite unlike the other two girls, is not always as well disposed and friendly. Her moods change constantly, "black and white" Gaspard calls them. She walks away in a fit of temper, so Gaspard now falls back on Solene, and when she turns moody, goes back to Margot, who by now feels like being the "substitute of a substitute." Gaspard only has a couple of days left for his vacation (the dates of each episode are flashed on the screen), but then Solene calls him and asks for a date, at 8:30 that evening; but then a few moments later, Lena, evidently in a turnabout "white" mood, also asks for a date, at 8:00 that evening, and he calls Margot to ask her advice; Margot, however is busy with her waitress chores-she will call back. Gaspard panics; what is he to do with three dates? But a phone call comes in the meantime, a friend telling Gaspard he has secured the purchase of a stereo he needed for a bargain price ($600 down immediately), which Gaspard has to borrow from his first month's upcoming job. This call saves him. Why bother about keeping his dates with these silly girls when his glorious music career is so promising? He is happy! One phone call has disentangled all these relationships.

He does tell Margot, though, who understands, and takes him to the boat. Ideally, she is could have been the one.

All three girls are attractive, Solene being the sexiest and the most evidently certain of her allurements. Lena has the most perfect body but the hardest of dispositions. Margot, somewhat chubby, is still good-looking, nicely disposed, and brainier than Gaspard. All are female temptations for this indecisive young Don Juan, who possesses all his male desires, but who understands nothing of what is called commitment.

The story is not a sad one; Rohmer is adepts in avoiding the pitfalls of sentimentality. There is not love at first sight (or the second one), and physical passion is not the animalistic urge one sees in most American movies-whether the male is Michael Douglas or Brad Pitt. Gaspard is not particularly controlled at certain moments, but his emotional side is not ardent-taking a back seat to his "plans" (never quite stated). His relationships with these girls are fluid, more matters of the moment than what is seen as passionate preludes to triumphant love. But that is what the stuff of life is made of. Love here is not as in Jane Austen stories: a commitment that will eventually define moral character as well. In Austen, commitment to a person one loves becomes the primary consideration. Romantic love also thrives on that. It presupposes a sterling honesty, a purity of feeling if you like, that must remain unadulterated through thin and thick. But Rohmer does not give us romantic characters, and rather bursts the balloon of that delusion called romantic love-though does incline to the platonic variety; the latter suits his cast members better-a great deal of talk of friendship in the movie. Friendship (platonic preference) stays, does not demand or brawl as an obligation, and does not drag the body into the messy relationship. Gaspard actually does develop a platonic setup with Margot-and both are forced to be content with that, having not achieved the other sort. They will see each other again, somewhere.

Beautifully told. An unpretentious tale that does not promise much, and what it delivers is an extra reward. Watching such a movie is a constant pleasure, one that one does not want to give up. All the moments between these four people are precious, nothing is wasted. The groupings are quite special-mostly two people against a lushly photographed background-waves, a flat and wide beach, a room, some country paths, and some scenes on a boat. As usual, there is no musical score, but there is music, only that which is heard in the background or sung by the participants. Complex simplicity, and unpretentious beauty-Rohmer trademarks.

A fortnight by the sea in charming company.
Gaspard, played by Melvil Poupaud, is a song writer, a good-looking but dull young man, a gauche loner with a flat voice and an inexpressive face who comes to this delightful holiday island of Dinard off the Brittany coast to await the arrival of his "sort-of" girl friend, who demonstrates how much she loves him by keeping him waiting for two weeks. During those two weeks, however, he finds two other girl friends - or rather they find him. It must be his good-looks, it can't be anything else. First he is picked up in a restaurant by Margot, a waitress, who turns out not to be a waitress but an Ethnologist, just helping out her aunt who owns the restaurant. Obviously such a bright and intelligent girl could not be merely working-class!

Amanda Langlet, who plays Margot and who appeared ten years earlier in Rohmer's "Pauline at the Beach." is clearly the star of this film. Much of the enjoyment of the film is derived from being in the company of this vivacious girl and being allowed to eavesdrop on her talk with Gaspard about love and relationships as they roam in the bright sunlight around this lovely French sea-side resort and the countryside beyond. She is such a very warm and sympathetic listener that it is difficult to understand why he doesn't fall in love with her. Why she doesn't fall in love with him is easier to understand. (you ask yourself; is this man a very good actor or a very bad one?) He makes a couple of inept attempts to move the relationship forward but is repulsed; she wants only friendship - and you feel he is lucky to get that - while she awaits the return of her Anthropologist boy-friend who is away in South America. Gaspard's dullness is made obvious when she takes him to hear an old sailor sing sea-shanties; her face so eager and enrapt as she listens intently; his face, alongside, so lifeless.

She encourages him to take up with Solene, played by Gwenaelle Simon in her first film, a friend of her's who they meet at a dance, but when he does, she is jealous, jealous of their friendship she says but secretly hurt that he now thinks of her as only a friend.

His relationship with Solene seems idyllic at first, they seem marvelously happy and well suited to each other. He is accepted warmly into her family, they all go sailing together and have a merry sing-a-long to one of his songs. But then, sadly, her true nature shows; she becomes aggressive and demanding, insisting that he take her to the island of Quessant or their relationship is at an end. And now Lena, his "sort-of" girl friend, played by Aurelia Nolin, appears and insists that he take her instead. He must now choose.

Rohmer's films are never plot-dependent; he prefers to dwell on the characters, to bring us into a close, intimate relation with them, while they reveal themselves in talk. And when the characters are as attractive as Margot, who could ask for anything more? ... Read more

Amazon.com

What's scarier than scary kids? Village of the Damned is the definitive scary-kid classic, a truly unsettling film drawn from John Wyndham's novel The Midwich Cuckoos. The brilliant opening sequence depicts the sudden and temporary paralysis of a small English hamlet, which is followed by the town's women becoming mysteriously pregnant. The spawn of this occurrence are a dozen eerie, blond-headed children, who are either gifted, evil, or "the world's new people." A splendid outing, not least in the way it catches parental anxiety about this small new stranger in one's home. (It was remade by John Carpenter in 1995.)

Children of the Damned follows up with a story about six more creepy kids, brought from all over the globe to huddle in a old church in London. An excellent opening half-hour gets bogged down in the movie's global-political ambitions (it's very much a cold war offering), but it has its share of shivery moments--the sight of the six youngsters striding down a London street as though they controlled the world is a chiller. But where's the blond hair? The two films are different in tone; Village feels like a fifties sci-fi offering, with an old-school star (George Sanders) and classical style; Children is a film of the sixties, with hipper techniques, urban setting, and young actors Ian Hendry and Alan Badel. But both have those damned kids. --Robert Horton ... Read more

Reviews (5)

invasion of the aryan children from outer-space
Truly this a classic of both science-fiction as well as horror.
Of course the horror is not the traditional bloodletting but rather psychological.It reads like a hitler youths takeover of a
typical english village "while everybody is asleep".these fatherless children all sport blond hair & blue eyes and definite
ideas about how things should run in the now quaranteed village.
They also seem to exhibit no distinct personnalities but more of a "group mind"(hence the fachism analogy)that has no problem crushing all dissidents , even their own parents.

On the technical side I have to again commend Warner for including it's sequel (children of the damned)on the disc , making it a great value.While the sequel suffers in comparison
to the original it's still worth seeing.
We as customers should support Warner & it's "double bill" DVD's
so that other companies might jump on the bandwaggon (so far only
MGM has released some interesting double bills)and increase the circulation of classic films on DVD.

A Different Type Of Village People!
Caught this flick by chance on TCM yesterday a.m. and watched it straight through (which was easy, considering it clocked in at a mere 77m). A truly creepy beginning leads to a disturbing middle which then leads to a shocking conclusion. All told a great sci-fi/horror flick without an ounce of blood (why horror? The scene where the kids will a guy to blow his head off with a shotgun is terrifying!). The eyes are creepy, the blonde wigs are creepy, heck, even the clothes the kids wear are creepy. A real great flick from the British school of cinema. Disturbing? You bet. But quite entertaining.

Classic British Science Fiction
This original black and white version of Village of the Damned is one of my all-time favorites. It stands head and shoulders above most of the other entries from this era by avoiding the pitfalls the others fell into.
The film is unrelenting in its bleakness, and there is not one second of humor to relieve the tension that slowly builds to the film's climax. Yet it is subtle and unpretentious, and the performances are understated and convincing. I consider this to be among the finest appearances by George Sanders; say what you will about him a person, he was perfect for the part of the father in Village.
This film is uncompromised by sentimentality, and there are no punches pulled in any scene, least of all the climax. That being said, the director never stoops to resorting to gore or gratuitous violence, but prepare yourself for a very unsettling experience.
Village of the Damned is far superior to its sequel (as is almost always the case) as it is to most other films of the same genre and period. It is also much better than the remake with Christopher Reeve, although the newer film is better than I expected.
If you're looking for a feel-good, lighthearted film watching experience, look elsewhere. But if you love well-made classic science fiction, this is one to add to your collection.

STILL HEAVY!!!
I remember my parents taking me to the village of the Damned when I was 8 or 9 years old and it totally freaked me out!! To make things worse, they took me back to see the sequel!! Spent the whole movie on the floor of the theater (Ha! Ha!)I saw the film recently and it stands up very well (much better than the colorized remake). The kids eyes are truly frightening!! The plot also stands up very well (at least the first of the two films). This film is as high a quality as, and is similar to, original episodes of the twilight zone. NOW: will they get around to releasing DAY OF THE TRIFFIDS on DVD?

Scared The Crap Outta Me!!!
First, let's do the math . . . it's May 26, 2004 and the DVD for this flick isn't coming out for another 2, 3 months or so. I haven't seen this movie in it's entirety since I saw it in a theatre in 1960 or 1961! (When I was 8 or 9 years old.) I can't recall much of the plot but it seems to me that it's a bit clumsy if not contrived. But the kids with the glowing eyes really freaked me out! Hokey by today's standards but very effective then. And there's that one scene where someone, a man I think, is threatening the kids and this little boy says to him, "Leave us alone! Leave us alone!" And then the glowing eyes thing starts! Very eerie. I'm gonna get the DVD just to see if my memory of this movie is justified! Bring it on! ... Read more

Reviews (5)

Good, but pales in comparison to "The Best of Will Ferrell"!
Will Ferrell and Molly Shannon were like two peas in a pod on "Saturday Night Live." They had good chemistry and when they combined forces they could induce plenty of laughs. Of course, Will Ferrell is equally funny without Molly Shannon. "The Best of Molly Shannon" proves it is exactly the opposite for her.

Yeah, she's a funny lady, but she pales in comparison to such "SNL" comediennes as Gilda Radner, Jane Curtain, and even Chery Oteri, who is very goofy. Molly Shannon's "Best Of" collection is fine, I suppose, but I didn't laugh that much -- and not nearly as often as I did with Will Ferrell's "Best Of" DVD.

Here she plays her most famous (and mostly original) characters: Salley O'Malley, Mary Katherine Gallagher, Courtney Love and Anna Nicole Smith (in a disgusting but funny segment with Ben Affleck), among others. But they're never exactly laugh-out-loud funny; I smiled a few times. I enjoyed some of the gags. But I was only really laughing when Will Ferrell was interacting with Molly.

Whether or not they are good films is definitely arguable, but there's a reason that Will Ferrell has been cast in virtually every mainstream Molly Shannon film. They go together. She cameos in his movies, he cameos and/or stars in hers. Remember "Superstar"? Remember "A Night at the Roxbury"? Maybe they're not good, but at least Lorne Michaels was smart enough to realize that the two have some sort of chemistry.

I noticed that Molly Shannon likes to move around a lot. I watched the Conan O'Brian interview with her (included on the DVD), and she absolutely could not sit still at all, just like her "Joyologist" character, who, in the DVD's outtakes, flipped over her chair from moving around so much.

She's good as Courtney Love, and Molly Shannon is undoubtedly a good comedic actress, but to say that she deserves her own collection of best moments at this point in time is a bit presumptuous, especially considering the fact that classic "SNL" actors have yet to appear in any sort of "Best Of" DVD collections. (Or am I just not finding them on Amazon and in the stores?) Besides, most of the compiles sketches aren't even that great -- or is it just that Molly Shannon herself isn't that great? I hope it's the former.

If you're a fan of Molly Shannon and/or "Saturday Night Live," I would definitely pick up this DVD. I bought it for fourteen dollars, and I've got to say that I'll probably return to it once and a while for some good grins. But not nearly as often as I am already returning to "The Best of Will Ferrell," which still stands as the best "Saturday Night Live" DVD I own at the current time (only three, but I'm getting there).

"Saturday Night Live: The Best of Molly Shannon" runs 76 minutes. It contains outtakes, a deleted dress rehearsal scene, a picture gallery, two TV interviews with Conan, and so on. It is not rated, but contains some language and sexual content/partial nudity. The feature's guest stars include, among others: Val Kilmer, Matthew Broderick, Gabriel Byrne, Tina Turner, Alex Baldwin, et al. It is now available on video and DVD.

Molly: One of the all time GREAT TV ladies of comedy!
Molly Shannon's presence is sorely missed on "Saturday Night Live" but not you can relive some of her finest moments with this DVD. Although I personally would have chosen some different sketches , this DVD is sure to put a big smile on even the grumpiest of faces.

Included are:

"Mary Katherine Gallagher"- Mary auditions for the school variety show and sings "Sometimes When We Touch" and does a Meredith Baxter Birney tv movie monologue. (with Gabriel Byrne)

"Helen Madden, Licensed Joyologist"- "I love it! I love it!" Helen appears on "Pretty Living", hosted by Ana Gasteyer. (with Matthew Broderick)

"The Courtney Love Show"- Courtney's got a talk show, and she interviews Julie Andrews (played by Christine Baranski)

"Elizabeth Taylor"- Elizabeth picks the winning lottery numbers on Weekend Update ("Gladiator!")

"Jeanne Darcy"- the very unspontaneous and over rehearsed comedienne makes an inappropriate appearance at a nursing home.

"Monica Lewinsky"- Monica addresses court, with Hillary watching.

"Sally O'Malley"- Sally auditions to be a Rockette! "I'm 50 years old! And I like to kick! Stretch! And kick!" (with Danny DeVito).

"Veronica & Co."- The European supermodel has a talk show whose set is located in the middle of a fashion show runway (with Val Kilmer).

"Delicious Dish On NPR"- Molly & Ana Gasteyer as the very low-key hosts of a radio cooking show. This is the famous "Schweaty Balls" episode (with Alec Baldwin).

"Leg Up!"- Molly as Ann Miller, and Cheri Oteri as Debbie Reynolds. (with Phil Hartman as a very cranky Frank Sinatra)

"MTV FANatic"- Molly as Anna Nicole Smith (with Ben Affleck as an obsessed fan who looks to Anna Nicole for a mother figure).

"Mary Katherine Gallagher"- Mary meets the real Tina Turner by hiding in her dressing room. (with Alec Baldwin)

"Rae Murphy"- an awkward blind date at an airport bar goes horribly wrong (with Will Ferrel and Chris Kattan).

"Dress Rehearsal Sketch"- that was cut from the final broadcast features Molly as an odd, accent loving girl who brings home date Bill Paxton to meet her parents (with Ana Gasteyer and Horatio Sanz).

Also features a photo gallery of Molly in different costumes, outtakes: Molly as Xena, Princess Warrior (with Brendan Frasier), as Helen Madden (with Ben Stiller), NPR's Delicious Dish (with Alec Baldwin), 70's Ladies In Bar (with Calista Flockhart), Dog Show! (with Will Ferrell- it's just a teeny blooper clip), and Jeanne Darcy on Weekend Update.

Two more goodies: two appearances on Conan O'Brien. On the first one she discusses how Courtney Love didn't seem pleased to be parodied and how Gary Coleman once trapped her in his hotel bathroom and tried to put the moves on her; the other appearance is with Will Ferrell and she talks about dating and a new sketch she was working on called "Hot Cocoa Girls."

Great collection! I would have given it five stars had it included some "Goth Talk" and "Dog Show" sketches on it. My absolute favorite Mary Katherine Gallagher sketch isn't here either (Gwenyth Paltrow was the host that week)- but it'd be nearly impossible to include everyone's favorites. I'd say that Molly Shannon definitely deserves a second "Best Of" DVD!

Good, but brief.
I believe that most people buy a "Best of" title mainly to see some of their favorite skits. Don't set your expectations too high here. This is just 76 minutes long, which includes outtakes, tv interviews, a dress rehearsal, and some recognizable skits. One can always argue about what should be on a "Best of", but this is so limited as to leave one convinced that this was made short to allow for other "Favorites" to be bundled up by producers for other DVD's to be released later. Disappointing.

Query about review
What happened to the review I wrote two weeks ago?

Molly Shannon at her most hilarious!
Out of all the Saturday Night Live collections that I have viewed, this one is the most consistently funny. Like some of her fellow SNL alumni, she may not have carved out a film career for herself, but she still does some of the most side-splitting routines. This DVD contains two Mary Katherine Gallagher sketches, her Betty Broderick monologue and her meeting Tina Turner; her Sally O'Malley "I'm 50 years old" bit with Danny De Vito; her spot-on impression of Courtney Love; the giddily over-the-top sketch about "joyologist" Helen Madden; her impression of a spaced-out Elizabeth Taylor randomly spewing out lottery numbers; her Jeannie Darcy bit in the elderly ward ("Don't get me started"); and the "Schweaty Balls" sketch with Alec Baldwin. Some of the other routines, such as the Veronica & Co. clip, the Anna Nicole Smith scene (poorly developed) and the airport bar scene with Will Ferrell, are less consistently funny. However, the first 45 minutes or so of this DVD more than compensate for the last 20 minutes. If I wanted to cheer up a friend, I would give him or her this DVD. In fact, I know that I will give it to some of my colleagues in the future. This DVD is heads above my Dana Carvey, Steve Martin, and Will Ferrell DVDs. How much do I like this Molly Shannon? Don't get me started! ... Read more

Reviews (54)

A movie that seemed to have a script
UNDERCOVER BLUES was a movie that seemed to have a script; flawed script as it was. I bought this movie to watch the likes of Bacalique Kathleen Turner and that movie star, Quaid. I saw them--with a baby to tend-- try to stage a spy-comedy story, but strangely the outcome reminded me of 101 Dalmations. REALLY! Lucky for an audience was this comic character, Stanley Tucci, who stole the show. Otherwise, Turner and Quaid--CIA Undercover--were too, too suave for spy characters. Their James Bond quip comedy lines just didn't work. Here is another movie that couldn't make up its' mind: is it a comedy, drama, suspense, mystery, n'importe quoi kind of story. Nevertheless, for all of its' flaws, UNDERCOVER moves along and keeps your attention. You are going to laugh somewhere along the line. And keep your eye out for Cruella. She's there with her sort of funny bad guys.

Undercover Excellence
I have rented this movie on more than one occassion and have loved it every time. I am fixing to buy my own copy from Amazon within the hour. I would definitely have this film on the top of my list of recommended movies. It's funny, romantic, full of good ol' fashioned action, and it's something anybody can watch. There's really only one word of profanity in the entire movie. The cast is incredible and I don't think you could find that kind of chemistry in just any movie. Quaid and Turner are fantastic together, and Tucci makes the most of a character that most people would blow off. I don't think the original critic watched the same movie I'm praising (the couple has an 11 month old girl, not a one year old boy, for clarification). Definitely one of the best and one of my absolute favorites!

I Got a Right to Sing the Blues
I love this movie, and it is with great reluctance that I'm rating the DVD with fewer than five stars. However, it seems that little work was done digitally mastering the film: there's a lot of grain and artifacting on the DVD (to be fair, the VHS doesn't look great either, but the blur of the tape reduces the grain in the image; on the DVD you get nice, crisp speckles and blotches). Basically this is a 5-star movie with 2-star production values, split the difference and round up, you get four stars.

The plot provides a so-so post-Cold War backdrop for the actors to do their thing. There hasn't been such a breezy, fun-loving, crime-fighting couple since Nick and Nora Charles. Dennis Quaid's dazzling smile and cheeky attitude brighten up the film, and Kathleen Turner provides a street- and book-smart turn as the brains of the operation. Add in Larry Miller's supporting role as the lisping, soft-spoken Detective Sgt. Halsey (that'th eth-ee-why, not eth-why), Stanley Tucci's shrieking tough guy, Muerte, and Fiona Shaw's devilish Paulina Novacek and you've got ninety minutes of comedic gold.

Unfortunately, along with the straight-from-video transfer, no expense was spent in providing extras on the DVD. There are a handful of trailers and that's about it. The menu screens look good, but if you go to a restaurant and the best thing you can say about it is "nice menus," odds are you won't be eating there very often. That's a shame really, because this is a good movie that's getting a raw deal from poor packaging and a lousy transfer.

If a remastered version of this disc comes out - with or without all the bells and whistles in the bonus department - swoop on it without delay. In the meantime, VHS is actually your best bet: the film's flaws aren't as noticeable and you've been making allowances for such things for years now anyway.

glad it's finally on DVD!
Wow, this is one of my favorite funny movies, no matter what the critics say!! It's obvious that other viewers feel the same. I've watched it many times since the first time I saw it 9 years ago, and always laugh 'till my sides hurt. The way Turner and Quaid interact is great, and I love the people they meet throughout the movie (such as Morty I mean Muerte). The music is great, and I like the New Orleans scenery.

I'm always quoting these lines:
"That's funny"
"Funny ha-ha or funny strange?"

Buy it and enjoy!!

I love this film. Stanley Tucci plays a great loser!
I happened across this film on a cable network that will remain anonymous. I saw that Kathleen Turner and Dennis Quaid were in it, and it was a comedy, so I watched it. All I can say is....I laughed my butt off! I was shocked because I had never heard of this film. It must have been made and send directly to video, although that's no indication of it's quality.

"My name...is Muerte!" The supposedly streetwise thug played by Tucci says when he mugs his victims. Morty, as Quaid calls him, meets his match when he meets ex-CIA, ex-FBI agent Jeff (played by Quaid).

On vacation after the birth of their first child, Quaid and Turner go to New Orleans to enjoy some good food and music, but end up getting pulled back into service of the government when a terrorist organization is trying to buy up a lot of an experimental high explosive.

The action is good, and the comedy even better. There is no adult humor in this film, so it's suitable for even younger children, although the fight scenes might be a bit much for very young kids.

If you like any of the actors in this film, or just like comedy, you should pick this up, it's one of the best comedies out there. ... Read more