Description

The life of Jesus Christ is powerfully chronicled in this intelligent, gripping epic starring JEFFREY HUNTER, ROBERT RYAN, RIP TORN and a cast of thousands. From the producer of the epic spectaculars El Cid and The Fall of the Roman Empire and the director of Rebel Without a Cause and 55 Days at Peking comes a vivid retelling of the world's greatest story. ... Read more

Reviews (66)

An intelligent, inspiring life of Christ.
"King of Kings" was my favorite religious motion picture when growing up, and I believe it still is. When MGM first released it in 1961, movie critics irreverently dubbed it "I Was a Teenage Jesus", since the role of Christ was given to teen idol Jeffrey Hunter. In hindsight, it was an unfair appraisal. Unlike other actors who have played Jesus in the more sublime, "stained-glass" manner that appears to be the norm, Hunter's portrayal showed a very human, energetic Messiah whose divinity still could not be denied. Interestingly enough, "King of Kings" was directed by Nicholas Ray, who six years earlier had directed James Dean in "Rebel Without a Cause". This time around, our "Rebel" has a well-defined Cause which places Him at odds with the religious and civil authorities of His day. The film's international supporting cast consists mainly of lesser-known character actors whose performances are mostly able. The great actor/filmmaker Orson Welles gives an uncredited performance as the film's narrator; curiously, the narration was written by science fiction author Ray Bradbury, who is also uncredited. The film's stirring music was composed by Miklos Rozsa, who was no stranger to religious epics (the soundtracks to "Quo Vadis?" and "Ben-Hur" stand out among his other works). Beautifully filmed in Spain, "King of Kings" is an intelligent and reverent profile of He who has been the Way, the Truth, and the Life to hundreds of millions for almost 2000 years. END

Hunter as Jesus Shines!
'King of Kings' features Jeffrey Hunter's finest performance, as a young, dynamic Jesus of Nazareth, and his intrerpretation, open and earnest, is the best part of a movie both uneven and flawed.

Produced by many of the people responsible for 'Ben Hur', the film utilizes some of the same sets, actors (Frank Thring appears in major roles in both films), and composer (Miklos Rozsa, whose score for 'King of Kings' was one of his finest). The cast was fleshed out by respected actors (Robert Ryan is too old but charismatic as John the Baptist, Siobhan McKenna is a glowing Mary, Brigid Bazlen, a deliciously wicked and oversexed Salome, Harry Guardino, an 'over-the-top' Barabbas, a VERY young Rip Torn scores as Judas). While the cast didn't have the 'star power' of 'Ben Hur', or many other Christian epics, the actors, by and large, perform credibly in their roles, particularly Hurd Hatfield and Viveca Lindfors, as Pilate and his wife, Claudia, and Ron Randell as Tribune Lucius.

The film was a MUCH less expensive project than 'Ben Hur'; the budget restraints show most glaringly in recreating Jesus' ministry (most of Christ's miracles are only referred to, not shown), and extras casting (Spanish townspeople, overdubbed with some truly RIPE dialogue!).

The film works best when focusing on Jesus; unfortunately, it veers off into distracting subplots about Barabbas and the zealots, and the decadence of Herod's court. These stories consume a LOT of screen time, and damage the overall impact of the film.

Yet rising above all this is Jeffrey Hunter's interpretation of the Savior. Easily the most audience-friendly of all the actors who have assailed the role, Hunter took a lot of flack for his 'matinee idol' good looks, and piercing blue eyes, but his kindness, his sincerity, and the complete believability with which he delivers Christ's words overcome any qualms about his appearance! The Sermon on the Mount is a film high point, and magnificent; the Crucifixion and Resurrection have the kind of power that can bring a lump to your throat, even after repeated viewings!

While 'King of Kings' lacks the big names and budget of 'The Greatest Story Ever Told', or the emotional core of 'Jesus of Nazareth' or 'The Last Temptation of Christ', in Jeffrey Hunter, the film presents possibly the most compassionate of all screen Messiahs, and makes this film a MUST for the holidays, and your collection!

Jesus Christ Never Existed.
'King of Kings' made in 1961 is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

The best one in its genre.
I'm positive that a lot of people have turned back their gazes to former versions of Jesus's life and death in view of the huge acceptance of Mel Gibson's recent film. Revisiting some of the classic titles is a good exercise in hindsight. How things have changed? To the worse, to be sure.

"King of Kings" is an excellent film, one of the best epics ever -alongside the also painfully underrated "The Fall of the Roman Empire"-. The film tells the story straightforwardly, mixing in it a little of historic and political speculation. It has a good rhythm, high visual artistry, admirable sets, genuine multitudes... Of course, Jesus is the wisest and most benevolent of men, and it is but right that he be also the most handsome of all: Jeffrey Hunter at his physical best and with bizarre -but culturally right- characterization.

Miklos Rosza's score is precisely one of its major assets. I think that he hit the target when it came to produce grandiloquent but available music, apt to bring up a sense of the religious or the military, not forgetting some passages of a sweet beauty, like that one with the Wise men in Bethelem.

The film treats Jesus as an all-out hero, on the terms set by his followers: he is a superman, compassionate, able of working miracles, godlike as God's son should be. He delivers his teachings unashamedly and boldly. We are spared ridiculous moments that could issue from clinging too close to the letter of the Gospels. Nicholas Ray is clever enough to offer tactfully the blind man's recovery of sight, the lame walking again, etc

Most of the cast is ideally suited, although I find Hurd Hartfield too strained and joyless as Pilate.

The battle scenes are amazing, and so are the initial images with Pompey breaking into the Sanctum of the Temple.

Whatever your actual feelings about Christianity and Jesus be, you can go back happily to a world of certainties and security ("suspension of disbelief") with a fine work of arte like "King of Kings", very enjoyable. After all, and in the worst of cases, you'll get back your childhood's hero in style.

And praise Samuel Bronston, the producer and the man behind half a dozen of the last and best epics from the sixties. He got the money and contributed much more than that. Gen. Franco, by the way, contributed the masses, since the film was shot in Spain and the Spanish Army was put at the team's disposal.

YOU FUNDAMENTALISTS MAKE ME SICK
I just got done watching my newly acquired dvd of KING OF KINGS.So I decided to go online to write a review.And like always I read other reviews as not to repeat what others have already said.To my shock and disgust I'm hit with one berating after another.READ THE NEXT SECTION LIKE A WHINEY FIRST GRADER: ("That didn't happen in the bible" "This didn't happen in the bible"I'm gonna tell!) That's what you fundamentally retarded people sound like.I can care less about SO CALLED SCRIPTURAL ACCURACIES.If that's so important to you watch your lame copy of JESUS W/Brian Deacon.Wow! badly portraying word for word what's in the bible. You're absolutely right! That is the way to go. Conveying a message and emotional connection are far more important to me.All 4 gospels total approximately 200 pages (give or take the size of the print).Hardly a dent in the life of a 33 year old man.I sure am glad you stopped the movie as not ruin your childrens' thinking. They'll make great document lawyers.I'm done with likes of you. NOW I WRITE TO THE TRUE CHRISTIANS,The ones that believe with their hearts, not a KING JAMES six gun.I bought this disc about a week ago.While (Jesus of Nazareth) is my favorite and (The Greatest Story Ever Told) is a close second,this movie has an untouchable magic of it's own.Sure they spent a little too much time on Barabbas,and Robert Ryan's portrayal of John the baptist is no better than a cold reading, as if he's seen the script for the first time.Or any thing else you want to nitpik about.But the score is wonderful and so many moments will force tears from your eyes,if you only relax yourself into movie.If you contemplate getting this DVD I strongly suggest that you do.The picture is remastered nicely and the sound is very fulfilling,bonus features;not much, total less than 10 minues.Even if you have a personal recording from TCM like I do. Get the disc.It offers you an even more panoramic view not shown on Turner Classic Movies. ... Read more

Amazon.com essential video

Nicolas Roeg's Don't Look Now once seemed radically new with its kaleidoscopic imagery, dreamlike editing, and willingness to let mystery be mysterious on several levels of reality/illusion--plus art-house darling Julie Christie in a long, nude love scene! Nowadays, this 1974 adaptation of a Daphne du Maurier ghost story looks almost classical. Following the drowning of their child in England, Laura (Christie) and John Baxter (Donald Sutherland) have come to dank, eternally dying Venice, where he is supervising the restoration of a moldering church and she is either slipping into or climbing out of madness with the help of a pair of creepy spinster sisters, one of whom can "see" even though blind. John may share this psychic power, though he resists accepting it as the canals fill with murder victims, surface realities turn shimmery as water, and a red-coated figure--the daughter's ghost?--keeps flickering in the corner of our vision. Though surreal and perplexing, the film does eventually add up, and the ending remains a real throat-grabber. --Richard T. Jameson ... Read more

Reviews (53)

Blind Venetian Channels............
The senseless and [accidental?] death of a child. Guilt?
Dim, underlit streets and waterways of Venice. Visions of a small child wearing a hooded red raincoat....... Steamy sex.....A serial killer........A blind psychic.....warnings....and a very sharp straight razor, or two.....and lover's do learn.....

A deliciously dark and brooding concept by auteur Nicholas Roeg ["Bad Timing"]of Daphne Du Maurier's vision of grieving parents Julie Christie and Donald Sutherland, recovering in Venice after the death of their only daughter. AND this movie has one of the best love-scenes ever recorded on film - excellent - not gratuitous or offensive.

VENICE, though, is the Star of this work. Forget any Summer Holiday memories you might still have of this wonderous dreamcity, she really comes to life during the winter! To say more about the plot would be to betray the work, but if you like experiences along the lines of "The Innocents", perhaps even the original "Haunting" - see this one. "Don't Look Now" is kind of the flip-side of Kate Hepburn's "Sunmmertime", even "Lover's Must Learn". It's an odd kaleidoscopic view of the city and its post midnight pulse - but be warned - stay in your hotel room - don't venture out on your own, especially after dark...........those Venetian walkways are still so dimly lit, never quite know what you might find in a doorway, or in the canals for that matter].

A companion-piece? The later "Comfort of Strangers" - equally disturbing, but a great double-bill!

A landmark in film editing!
Dont look now is a very important film because it changed the way films would be edited forever. There are several key sequences where the editing is beautifully mastered to create wonderful montages not seen since Tarkovsky - the initial child drowning accident, the love making scene shot in reverse and the shock ending. This is a wholly creative film from start to finish. The director has paid remarkable attention to the direction of colors. If you think that Spielberg was original with his girl in the red coat, then you are mistaken. This is where that vision began. The majority of the film takes place in Venice but the director has chosen to roam the more obscure and backward waterways and tunnels. The film is layered with such beautiful simplicity that is should be the goal of every film student to study this material to no end.

The premise basically revolves around a personal family tragedy of a young couple, John and Laura Baxters, played by Donald Sutherland and Julie Christie, (a magnificent match) who are trying to come to terms with the death of their daughter. Laura finds a blind clairvoyant and her sister by accident in a restaurant who claim that the dead daughter is trying to warn them of some great danger. Slowly Laura starts to crackup as John becomes increasingly angered by her belief in an supernatural afterlife and the warnings given by the medium. The ending manages to shock every time.

This film is not for everybody. The production values are minimal and most of the film was shot from the hip on a shoe-string budget. However the realism that this film conjures up is steaks and bounds ahead of most psychological horror films of its kind. The story is somewhat slow, but emotionally it packs a hell of punch. There are several background elements to the film including a bizarre series of multiple murders, missing persons and events back in England that seem almost connected to the couples genuinely heartfelt struggle to come to terms with bereavement. Essentially this film is every parents nightmare come true and the horror of the loss of a child is very strongly presented and does disturb.

This is a bleak, raw and alarming art house film with many moments that will cause the viewer some distress. The connection between the onlooker and the leading protagonists has an impact that will leave you reeling emotionally long after the film has ended.

A classic masterpiece of emotional and psychological horror.

Do Look At This Movie Now
This film certainly rises above the genre of horrow movies and remains a classic after 30 years. Based on a story by Daphne du Maurier, the movie is set for the most part in Venice, the most mysterious of cities that is so conducive to horror, suspense and intrigue. (DEATH IN VENICE, THE COMFORT OF STRANGERS and THE TALENTED MR. RIPLEY are just three other movies set in Venice that have some of the same eerie feel to them as this one does.)Two of the reasons for the success of this movie are Julie Christie and Donald Sutherland, two of my favorite actors. I didn't remember Sutherland having that much hair if it's his; also, I never thought Julie Christie resembled Michael York before. (Someone should play with a computer and juxtapose their portraits, one over the other. The likeness would be striking.)

Sutherland and Christie have just lost a daughter by drowning. While in Venice they meet spinster sisters, one who is blind, who tells the grieving Christie that she has "seen" her daughter. The plot gets scarier by the minute. There is a wonderful sense of forboding that builds into a horrific climax. The film is beautifully shot with images-- blood, water, Christie and the two sisters riding in a water taxi-- repeated.

The sex scene between Christie and Sutherland has to be one of the most erotic ever shot and remains so after 30 years. The director intersperses their sex romp with scenes of their getting dressed to leave their hotel, a great touch.

Certainly the movie is not as frightening the second time around since we know the outcome; that is certainly not a criticism, however.

DON'T LOOK NOW remains one of the best of the genre.

Spelling atmosphere
The gothic and sinister atmosphere you breathe since the first rapture images where the tragedy is announced , the painful fact will lead this marriage (with Venecia as beautiful background) to unthinkable consequences for both of them and will allow Roeg telling us a script filled with imagination , exceptional and skillful camera resources , based on a novel of Daphne du Maurier who inspired Hitchcock for The birds and Rebecca.
Sutherland and Christie established an inmediat *chemical rapport* , a script with several twist of fate and prodigious color employement to create nightmares.
This is a true gem : one of the most remarkable pictures of that decade.

Beware if nudgets ub red raubciats!
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This film will give you reason to be afraid of midgets in red raincoats for the rest of your life!

For reference to the above, I recommend the film "Unconditional Love", which revisits the "midget in a red raincoat" for yet another scary thrill! ... Read more

Reviews (50)

6 out of 5 Stars!!!
What can I say. This is the Godfather of dancing movies. You got served, Save the Last Dance, and Dirty Dancing 2 would not exist without Footloose. Kevin Bacon is sensational, that kid has a few moves!

Based on a true story (According to E!), Footloose is about a pack of high school kids fighting for their right to DANCE. "There is a time to laugh, and THERE IS A TIME TO DANCE," quote Kevin Bacon. You see, these kids live in a redneck town where people wear cowboy boots don't want kids to dance. Dancing was thought of as dangerous, and the leading cause of teenage pregnancy. So they want to ban dancing... but when the kid from Chicago (Kevin Bacon) showed up, he taught his redneck friends how to dance and decided to fight the resistance and want to be freed from the
anti-dancing act.

As with any movie, there has got to be antagonists. Besides crazy dancing and tight 80's style jeans, this movie is loaded with action scenes. There is a scene where Lori Singer's ex-boyfriend shows America how to beat up Lori Singer, and there is a scene where Kevin Bacon drop kicks Lor Singer's ex-boyfriend and helps young Chris Penn (when he wasn't all fat) kick 5 people's @SS. This movie is also loaded with testosterones: scenes of pickup trucks, roll bars and dancing on football field bleachers proves me right!

In many ways, this movie reminds me of the importance of Freedom. The need for Americans to fight for the right to party! Some people may laugh at the cheesy lines, lame outfits and the fact that Kevin Bacon's choreography is entertaining, but it should be taken just as serious as movies like T2 and Matrix in which the protagonist fight for the FREEDOM of fellow mankind.

If you are looking for a lighthearted film with plenty of action and laughter, you do not want to miss this great film. Kevin Bacon, I always knew you are a talent... Superb Cast and Excellent Film!

Fun and entertaining movie, but rated PG? I don't think so..
Teenager Ren MacCormack (Kevin Bacon) moves with his mom from big city Chicago to a small town in the Midwest after his parent's divorce. Ren is suprised to find that it's against the law to listen to rock 'n' roll and the law also prohibits dancing! Ren can't understand why these laws were brought about but tries his hardest to fit in with the town people. Unfortunately, though he's accepted as a friend by fellow student Willard (Chris Penn), no one else seems to like him, calling him a 'big-city kid' and a trouble-maker. After a while, he comes up with a plan to try to make it possible for the Senior students to be able to have a prom dance. He'll be going against the whole town, most specifically the Reverend Shaw Moore (John Lithgow) and the town council. Will Ren be able to change the stiff necked town people's minds? At the same time, Ren begins to fall in love with the Reverend's wild and unpredictable daughter Ariel (Lori Singer) while trying to keep his distance from her boyfriend Chuck (Jim Youngs). Also starring is Sarah Jessica Parker as Ariel's best friend Rusty, Dianne Wiest as the Reverend's wife Vi, and John Laughlin and Timothy Scott play Woody and Andy Beami, two of Ren's allies.

*PLOT* - This is my first and only 80's dance movie to watch and I must say that I very much enjoyed it. The plot was interesting though of course some points were a bit unrealistic. Basically the movie is in a way a 'coming-of-age' film. I loved the way each of the characters are portrayed. Kevin Bacon's character Ren represents the 'hero' of the movie. At first when I read the reviews I thought Ren would be your typical rebellious teenager. A bit on the contraire, he is responsible and you can't help but feel proud of him when he brings his case up to the council. It's hard to explain and I can't tell you much since this is only a review, but I must say that Ren's character was extremely well-done. Ariel on the other hand is very rebellious, and flaunts it to her father. I loved how she and her father were able to resolve their problems at the end.

*ACTING* - Kevin Bacon definitely steals the whole movie with his acting. He plays the part of a teenager perfectly, even the way he walks. His dancing was also spectacular, most notably his solo dance at the warehouse to the music, "Never" by Moving Pictures. If he was doing only half of what we see on screen, I'd still be impressed. John Lithgow is also outstanding, it was interesting to see his dramatic abilities after watching him on goofball comedy tv series, "3rd Rock from the Sun". He certainly can put power in his 'sermons'! Lori Singer beautifully stunning as Ariel, a perfect example of the category of 'wild and beautiful'. Besides the character of her father, Singer's character of Ariel has the most development in the movie.

*DANCING* - The dancing is just pure fun to watch, especially for people who loves 80's dancing. The last dance was not only the best dance, but the best part of the whole movie. If by chance somebody didn't enjoy the movie, I'm sure the end will make up for it. I loved it so much, I downloaded that segment onto my computer so I can watch it any time.

*SOUNDTRACK* - The soundtrack is another plus side to the movie. Besides the "Top Gun" soundtrack, "Footloose" is on my top list of favorite movie soundtracks. Great songs include two by Kenny Loggins, "Footloose" and "I'm Free (Heaven Helps the Man". Other of my favorites include "Let's Hear It For the Boy" (Denise Williams), "Almost Paradise" (Ann Wilson/Mike Reno), "Somebody's Eyes" (Karla Bonoff), and "Hurts So Good" (John Cougar Mellencamp). Plus there's plenty more!

*PG Rating* - From here I will be giving you the downside to the movie "Footloose". I was extremely disappointed that the movie does not hold true to what a real PG movie should be. There are many reasons as to why this movie should be changed to a PG-13 rating. Though the movie is about a small town which has a dislike for rock music and dancing, the movie portrays some of the teenagers there as being very immoral. Besides having sexual innuendo, some violence, and drugs scattered all over the movie, the language is also pretty strong. I strongly recommend parents not to have younger children watching this movie. Best for kids 15 and older.

Overall, "Footloose" has the great elements to make a good movie; great story, terrific acting, nice music, and cool dancing. But it also shows some of the immoralities of teenagers so parents should be cautioned. The movie is more aimed towards teenage viewers and adults might not find this movie terribly entertaining. But then again, adults might enjoy the movie for they might be able to relate to John Lithgow's character as the father who does not want to let go of his daughter because of his love for her.

Very classic movie and soundtrack
As I said in the title, great nostalgic movie, story, acting, etc. I enjoy watching the movie over and over. I would give this 5 stars but I will give the DVD tech guys an F for not putting any features (besides ws format) on this. I think some trailers, interviews, and other stuff would have fit. They could have done a little segment on all of the songs featured here. Aside from this, great DVD.

One of my personal favorite movies from the '80s
I was watching VH1 over the holiday weekend and came across a showing of "Footloose". "Footloose" is one of my favorite movies from the '80s. I actually saw the film in the theater with some friends. We wanted to see "Splash" but tickets for that movie was out so we settled on "Footloose". At the time I thought the premise of the film of a hip teenager rebelling against an ultra conservative town with its anti-rock music and dancing rules, was a bit farfetched, if not silly. I still do to this very day but I like this movie more now than I did back twenty years ago. It's amazing how much Christopher Penn has changed since then. Not to mention Sarah Jessica Parker (still with her "Square Pegs" look), and Lori Singer. Kevin Bacon remains the same today. John Lithgow gave me one of his best performances I had ever seen before that godawful sitcom he starred in years later. Dianne Wiest was also good in the movie. The stars of the film I thought were Kevin, Lori, Sarah, and Christopher. The music was great. I love Bonnie Tyler's "I Need a Hero" and John (Cougar) Mellencamp's "Hurt So Good". "Footloose" was one of those movies where music and film went well together. To the reviewer who thought this film deserved a PG-13 rating...um? Hello? There was no PG-13 back in 1984. It was either PG or R. I would hardly qualify "Footloose" as being R-rated material. Compare "Footloose" by today's movies, it is a tame comparison. Despite being cheesy at times, "Footloose" remains a blast to watch.

Nostaligia
I grew up in a rural, religous community on the edge of the Appalachia. We were not allowed to dance. It didn't strick me at all odd at the time, and it doesn't now, that a town council could make dances illegal or that the local pastor could almost single handedly control the town council. And yes, a small town police officer could, without getting into any legal trouble, in that part of the world in the 1980s confiscate a rock and roll cassette tape (Remember those things?) for being played too loudly or simply because he didn't like the attitude of the driver.

Having said that, the movie is extremely dated and so some parts of it look and sound a little silly today. Just like today's hip teen movies will look and sound silly two decades from now. But I still like this movie. Probably because some of these seens could be right out of my life. I too went to church and looked at girls acrossed the aisle. And after church we really did ride around in cars and pickups and hang out on family farms on Sunday afternoons doing really stupid teenage stuff with farm equipment. All of these seens are caught pretty realisticly and are done very sympatheticly. People with simple value systems are not mocked here, as they so often are in Hollywood. And the story line isn't all silly. The pastor character is especially well written and well played. And I should point out that girls really did wear their hair like that back then and really did wear tight sweaters and even tighter designer jeans. Youngsters now days don't know what they are missing. Buy this movie and watch Ariel move around the screen and you'll see what I mean. ... Read more

Amazon.com

Nominated for nine Academy Awards in 1957, Peyton Place has becomesynonymous with torrid soap opera. Though the novel by Grace Metalious iseven more sensational, the movie provides plenty of tantalizing storyturns--secrets, adultery, rape, bitter parents, frustrated teenagers,suicide, and murder. Multiple storylines deftly interweave: AllisonMacKenzie (Diane Varsi), an ambitious young girl struggling with theneurotic fears of her mother (Lana Turner, in a career-revivingperformance) and the neurotic fears of the boy she loves (Russ Tamblyn),while her best friend Selena Cross (Hope Lange) fights off the brutaladvances of her drunken stepfather. The movie had to sanitize the novel'sNew England town in order to get some of the more unsavory plot turns pastthe censors; ironically, the glossy "normal" surface makes these eventsall the more shocking, paving the way for David Lynch's Blue Velvetand Twin Peaks. --Bret Fetzer ... Read more

Reviews (30)

The secrets and scandals of a small New England town
Based the bestselling novel by Grace Metalious, Peyton Place is a hallmark of mid-20th century American culture and remains powerful melodrama to this day. Modern audiences in particular might notice similarities with the currently popular Dawson's Creek.

The story centers around shopowner Constance MacKenzie (Lana Turner), hiding a secret from her past; her daughter Allison (Diane Varsi), who dreams of escaping from Peyton Place and becoming a writer; Allison's best friend Selena Cross (Hope Lange), who lives literally on the other side of the tracks and suffers abuse at the hands of her drunken stepfather (Arthur Kennedy); Norman Page (Russ Tamblyn), a shy, quiet student yearning to break away from his domineering mother; Rodney Harrington (Barry Coe), the playboy son of millowner Leslie Harrington (Leon Ames), who disapproves of his son's relationship with the flashy Betty Anderson (Terry Moore); and Mike Rossi (Lee Phillips), the new high school principal smitten with Constance.

Screenwriter John Michael Hayes did a magnificent job of distilling Metalious's occasionally crude story, making it acceptable to film audiences, though it can be argued that Metalious's feminist slant was lost in the process. The film was beautifully directed by Mark Robson, who's never gotten enough respect, perhaps due to his reputation as a craftsman; well, Peyton Place is a finely crafted work, solid entertainment, with majestic location work in Camden, ME, much of which will be lost in the transfer to the small screen. The cinematography is by William C. Mellor and the wonderful score is by Franz Waxman.

Peyton Place received 9 Academy Award nominations, including Best Picture, Best Director, Best Screenplay-Adapted, Best Cinematography, Best Actress (Lana Turner--her only nomination), Best Supporting Actress (Hope Lange, Diane Varsi), and Best Supporting Actor (Arthur Kennedy, Russ Tamblyn). 1957 was the year of The Bridge on the River Kwai, so Peyton Place lost in every category.

Get this DVD-Peyton Place the classic soap opera
Peyton Place is one of my favorite books and one of my favorite movies. The filming and score are beautiful. The scenery of coastal Maine is fantastic. This is one of the most popular soap operas...the term "Peyton Place" has come to mean a gossipy community.

Most of the acting is great... the only actor that does not seem right for the role is Lee Philips. He is does not see the type of guy Lana Turner would go for.

Lana Turner and Diane Varsi have some great mother daughter conflicts. Lloyd Nolan is great as the doctor caught in the moral dilemma of covering up a miscarriage (which was an abortion in the book)

The DVD adds an interesting commentary by Russ Tamblyn and Terry Moore. You feel as if you are sitting with them as the watch the film. They give share stories of what it was like to be a young actor in the 1950s.

This is a great film and even better DVD. My wife and I liked the book and movie so much we named our daughter Allison after Peyton Place's main character.

The Darkside of Small Town Life
1957's Peyton Place was based on the tawdry best seller by Grace Metalious that depicts the sorted lives of the residents of the titular small New England town. The film was quite controversial at the time as it contains frank talk about sex, an incestuous rape, a hinted at abortion and murder. The film helped paved the way for the abandoning of the Hollywood moral codes. Everyone in Peyton Place, it seems, has something to Hide. Constance MacKenzie (Lana Turner) is an uptight single mother to Allison MacKenzie (Diane Varsi). She is fearful of scandal and rebuffs the advances of new high school principle Michael Rossi (Lee Phillips). Constance is hiding a secret from Allison and after Allison is wrongful accused of swimming naked with Norman Page (Russ Tamblyn) she reveals that Allison was born illegitimately as her father was living with Constance but was married. Allison leaves Peyton Place to go to New York City. Allison's best friend Selena Cross (Hope Lange) lives in a shack with her drunken stepfather Lucas Cross (Arthur Kennedy). Lucas is abusive and beats Selena and eventually rapes and impregnates her. Confronted by Dr. Swain (Lloyd Nolan), Lucas leaves town. He eventually returns and tries to take advantage of her again and Selena kills him. This leads to trial where Allison returns to town to speak on her Selena's behalf. She avoids her mother and in a bitter meeting tells her of her feelings towards her. At the trial, Selena refuses to let Dr. Swain speak about the rape. Dr. Swain's conscious gets the best of him and in an impassioned statement on the stand he reveals Selena's secret and chides the townspeople for their gossiping ways that led Selena to this position. Selena is acquitted and Allison reunites with Constance. The film was a huge hit and ironically Ms. Turner was embroiled in her our murder trial when her fourteen daughter stabbed her mobster boyfriend to death. It spawned a sequel and a popular television series. The film garnered nine Academy Award nominations including Best Picture, Best Director (Mark Robson), Best Actress for Ms. Turner (her only nomination) and two Best Supporting Actor & Actress nomination for Mr. Kennedy, Mr. Tamblyn, Ms. Lange & Ms. Varsi. The film holds the ignominy of having the most nomination without a single win.

Colorful soap classic/less than perfect DVD
Lana Turner and a terrific cast make this toned down version of Grace Metalious's steamy, sensational novel a real potboiling delight! The music, the cinematography, everything...it all evokes a long ago time and place and here it is all beautifully preserved for posterity! Fans will also enjoy its sequel, RETURN TO PEYTON PLACE with luscious Carol Lynley and another good looking cast of youngsters and scenery-chewing veterans.

Unfortunately, this DVD has a few jumps and glitches which disrupt perfect viewing. The AMC Backstory documentary isn't all that informative, and you'd think they'd at least have edited out the commercial bumpers. The commentary track by Tamblyn and Moore is one of the most boring ever...nearly impossible to sit through. Neither actor offers much insight into the film they are watching, instead rattling off alot of their own movie credits and misinformation (ie. Dick Sargent was never in "that genie show," Ms. Moore). Who was producing this!?

The commentaries make this DVD a must-have
I already had a beautiful copy of this movie--the outrageously priced ($49.95) laserdisc set put out by Fox Home Video sometime in the 90s--but the selling point for me this time around was the promised audio commentaries by Russ Tamblyn and Terry Moore. I wasn't disappointed! I've always considered Tamblyn one of the unsung heroes of moviedom (his credits read like a list of the best films ever made--"Gun Crazy," "Father of the Bride," "Seven Brides for Seven Brothers," "West Side Story," and this gem among others) and I'm certain that those viewers only familiar with his remarkable dancing and acrobatics in musicals would be surprised by his sure handling of a complex character in this film. The performance earned him a well-deserved Oscar nomination--a feat not shared by the majority of his musical colleagues. Tamblyn comes off as a very likable, unassuming guy in his audio commentary, and his memory of the long-ago events is pretty sharp--even to the point of remembering that a double for Lana Turner did a couple of the shots in the last scene rather than the actress herself. Along the way he has plenty of interesting stories about the other actors, the location shoot, and what was going on in his life at the time. Terry Moore is also very engaging in her commentary, although she's clearly less familiar with the movie itself--e.g., she registers surprise at the fate of Betty Field's character the same way a first-time viewer would. But Ms. Moore also has some intersting recollections, such as roasting in her winter coat while surrounded by fake snow in the blazing California sunshine. And her obvious respect for the story's themes and its characters (as significantly altered and arguably improved for the film adaptation) is very endearing, particularly if you're as enamored of the film as this viewer. ... Read more

Amazon.com

This is the most popular opera production so far on DVD, surpassing evenFranco Zeffirelli's lavish, symbol-laden La Traviata. It is an excitingCarmen, with a young-looking Placido Domingo in top form for a role hehas sung hundreds of times. For Julia Migenes, it was her first performance in arole she would have trouble performing in an opera house. Her voice does not fiteasily into Carmen's range, and she spent months training it, very successfully,before singing the role in a recording studio where the soundtrack was tapedbefore the film was shot. Casting her in the role was a gamble, but it worked;she is a convincing actress--even better than Maria Ewing in the competing DVD edition from CoventGarden, though Ewing acts very well and has a more appropriate voice.

This movie version was filmed on location, conveying a kind of atmosphere, asense of space, movement, and presence hard to achieve in a staged performanceshot for television. It takes the action out of doors for many scenes. Theopening titles are superimposed on the bloody conclusion of a bullfight. Thechanging of the guard in the opening scene, with the boys' chorus playingsoldier, the crowd scenes, the dance number that opens Act II, the panoramicscenery of the smugglers' mountain hideout, all benefit from the freedom grantedby movie cameras. But the music is, on the whole, more effectively performed inthe Covent Garden production, which also handles close-up shots better, perhapsbecause it was directed with a small screen in mind. The opera house atmospherewill make hard-core opera fans feel more at home. The movie version uses theopera's original opera comique form with some spoken dialogue rather thanrecitatives. --Joe McLellan ... Read more

Reviews (58)

fantastic
This in one of the most delightful (in fact the most delightful) opera movies I have ever seen. The first amazing thing is that there are no cuts in the score.

About the cast...well...incredible...
Domingo sings Don Jose incredibly. No contemporary tenor is his equal. Carreras and Lima (the other 2 don jose on DVD) are just not as good as him. Domingo also has a good french accent...which is a must in this opera.

Migenes: well I can't understand some other reviewers who accused her of ruining the performance. I thought she was incredible. She is an amazing actress. Although she never sang carmen on stage, she has however a very deep understanding in the role...perfectly reflected in this movie.

The toreador (raimondi) and micaella are also good. Well..overall the cast is great ...and the decor is AMAZING...the opening scene is a bit brutal...but also...what can i say...the music in the prelude IS brutal and the sets are just following the music..isn't that opera???

I highly recommend this DVD.

I don't get the hype.
I guess all other opera movies are laughably bad, so when this halfway decent production of Carmen comes along it's suddenly a masterpiece. Let's not be too quick to give it a standing ovation. Don Jose is one of Domingo's signature roles and he sings it beautifully, but the horrendous camera work of this film makes him appear too stiff and cold, especially during scenes with Micaela. The beginning is way too gross and way too long, and the big scenes like the "Tor-ee-a-dor" seem sort of worthless after sitting through the slow sections. My big problem with this movie is Migenes. She can't do anything except dance and wiggle in a sexy manner which seems to fulfill the role at first but, by the end, makes her effort less satisfying because it's really all she knows how to do. She just couldn't sing it and she needs to shave under her arms. A really over-rated film. Yes, it's hard not to enjoy Carmen, but in my opinion even the beautifully lavish scenery couldn't save this. An average attempt at best.

Busty, Lusty and Dusty
One of the best Opera Movies.
Oh sure Opera purists will quibble with the choice of Julia Migenes Johnson because she is not a "classic" Carmen.
But believe me, when she seduces Don Jose while she is being detained, I too was seduced. In some other operatic productions on film the only way you could tell the leading lady was beautiful or seductive was because the characters told you, despite the obvious proof to the contrary.
In this beautifully shot film Carmen is not a ravishing beauty, if anything Micaela (Faith Esham, who is, by contrast, lovely and whose voice in both the duet with Don Jose and her solo later on, soars as high as the mountains in the background) is a doll. She's a good girl and his mama's choice for his future.
Don Jose's career path is also set. He's a good soldier and due for promotion. Yet he'll throw it all away on a promise of Manzanilla and some hot lovin' and we believe it because Julia Johnson sells it.
The film portrays Carmen as a 21st Century woman stuck in a dusty backwater world, where strict formalities are mocked by the common folk (witness the children mocking the soldiers in the beginning). She's not a slut, she's a playful flirt who doesn't recognize Jose's seriousness.
I can quibble with some things myself, for example the aforementioned duet between Jose and Micaela is shown in a long shot that feels like it goes on forever. Give me a couple of close ups, please. I understand their wanting to show the stiffness and formality (and distance?) between the two, but there's no need to bore us; and there maybe too much dust swirling about as the peasants dance about, but you do get a sense of reality often missing in operas (or even movie musicals when shot on location, like West Side Story, though shot in Manhattan, where was the garbage?)
This movie works on the two levels it strives for. The opera is wonderfully performed by both singers and orchestra. The story is timeless and the plot easy to swallow. Cinematography is top notch, and though the direction could have been more imaginative
this is more than a good opera movie, this is a good movie.

The best of Domingo's !
It is wonderfully singed, gloriously staged and unbelievably truthful opera. One may dislike the film -like settings but they do work as intended. It is dynamic, south -France flavored, sunny and tragic Carmen. I know only another Domingo's DVD that may pair with this one, the "Cavaleria rusticana".

Carmen singing not too good
The visuals of the film is very good and atmospheric, except for the bullfighting scenes which are too gory. As for the singings, Placido Domingo does an excellent job, but not so Julia Migenes. Sometimes I can't tell whether it is just her singing style or she is out of breath. She may not ruin the film but she is not very pleasant to hear. Having a sexing acting Carmen may appeal to a lot of people, but this is not the reason I listen to opera. ... Read more

Reviews (189)

A Very Funny Sci-Fi Movie
"Evolution" isn't the best sci-fi comedy ever, but it's certainly very good. It's one of those guilty pleasure films that you enjoy over and over again.

The plot is nothing special. Two community college professors (played by David Duchovny and Orlando Jones) discover that a meteor that crashed in the desert is teeming with life that is rapidly evolving. The military comes in and screws things up, leaving the two profs, a government scientist (Julianne Moore), and a wannabe firefighter (Seann William Scott) to stop the alien menace before it takes over the world. There's also a funny cameo by Dan Akroyd as the governor of Arizona.

The acting is good. Duchovny and Jones have excellent chemistry together, really playing off each other well. Duchovny plays more the sarcastic, cynical scientist, while Jones is more manic, particularly in a scene where they're in the cavern. Moore is decent as a very clumsy and socially inept scientist. Scott's a little flat as Wayne, but that's part of being a character who's dumb but trying to look smart. There's also other bit players that are really funny, including two fat guys who are hysterical.

The story and script move along briskly, with only a few really unnecessary scenes. The jokes comes at a similarly brisk pace and are very funny for the most part. It's not a very realistic movie, as some of the things that are said and done are things most normal people wouldn't do, but that's part of the charm of this movie.

The effects are also very good for a movie that's more comedy than anything else. Things really look very realistic and are on-par with a movie like "Men in Black" and "Harry Potter".

As far as extra go, there's not a whole lot. Most of it has to do with the special effects, although you do get some funny deleted scenes. The commentary track is the biggest treat, with Ivan Reitman, Duchovny, Jones, and Scott all in a room at once. It's really funny.

Overall, this is a good film if you're just looking for some laughs. It sort of has the charm of "Ghostbusters" and "Men in Black" with some great interplay between Jones and Duchovny. Definitely a must-see if you're a "Men in Black" fan.

Evolution Has Far to Go (but it's still funny!)
I went into Evolution expecting another MiB. By that standard, I was severely disappointed. Despite that, I did laugh through much of the movie. Between the dumb-but-servicable humor and the superb special effects, I'd have to say that my 8 bucks were money well spent.

Much of the dialog appears to have been written as a Jr. High drama class project. Sorry, but bathroom humor just doesn't do much for me anymore. Orlando Jones's character was simply too stupid for belief and David Duchovny looked as if he didn't expect half the audience to get the joke.

That said, there were some fine moments. I particularly enjoyed the sly poke at films contrived for product placement purposes. Despite the cardboard character, Orlando does have some fine one-liners and, as I've come to expect, he makes the most of them.

Then, there are the special effects. I can't say enough, so I won't even try. Much. I've become jaded in the past couple of years, but these really do stand out. The sequence in the shopping mall alone was worth the price of admission (I won't spoil it for you with details).

Overall, I'd call it worth the trip . . . so long as you don't expect too much.

Better the 2nd time around
The first time I watched this movie, I though it was terrible. However, after watching a 2nd and 3rd time, I've learned to appreciate the humor. It's a fun and lighthearted movie. The special effects are quite good, the monsters are impressive and the acting is not bad. David Duchovny isn't a great commedian, and some of his lines are terrible, but overall, he does a good job.

It's the kind of movie you put on when you are depressed and just want to drink a beer and be amused. In the same league as Caddyshack and Stripes. Great mindless fun.

BUGBUSTERS
Perhaps David Duchovny is doomed to follow in the steps of many tv stars who just can't make it "big" on the big screen. The X-FILES star did well enough in the feature-length film of that series, but other than that, he's floundered. EVOLUTION does have some wonderfully wacky moments, and some brilliant special effects. What it lacks is a consistency in tone and a good team of actors. Julianne Moore is hilarious as the clumsy CDC rep; Orlando Jones is as effective as Ernie Hudson has been; and Seann William Scott does his usual goofus stint. Ted Levine is very good as the greedy general, and Dan Akroyd is wasted in his role as the governor.
There are funny sequences, but there seems to be a lot of time when you're waiting for something to make you laugh again.
Inventive, but not the movie it should have been.

Good effects, good cast, good fun
Let's be entirely honest here, "Evolution" is a silly movie based upon a barely palpable grasp on science. However, it doesn't matter because it is genuinely entertaining. The plot is just plausible enough to allow the viewer to enjoy a great cast offering up some genuinely funny lines amidst some very good CGI (and I write this two years after the film was released).

The story revolves around rapidly evolving alien life forms that arrive in Arizona via a meteorite. This nod to the theory of Panspermia shows that while the link to real science may be tenuous, it won't be severed altogether. This is an element that the viewer comes to appreciate as it allows a reasonable suspension of disbelief, which adds to the movie's appeal.

As these "aliens" become more sophisticated they wreak a rapidly escalating amount of havoc on a nearby medium sized city. It is here that our rag-tag band of heroes, David Duchovny as a disgraced biologist, Orlando Jones as a geologist who is more interested in anatomy than rocks, Julianne Moore as a hard driving CDC researcher and Seann William Scott as...well, Seann William Scott, come to the rescue. OF course, along the way they face the requisite bone-headed general, not to mention the rigors of a Division III women's volleyball schedule. Nonetheless, they rally together and triumph in fine style. The reason why this journey is fun to watch is simple: while each one of these actors offers up an excellent performance (particularly impressive given Moore and Duchovny aren't known for comedy), it is as an ensemble that they really shine. In particular, the exchanges between the three men are always hilarious as Duchovny plays a perfect straight-man for Jones and Scott. Moreover, Moore shows a remarkable ability for prat-falls that are the highlight of some strong physical acting.

As the film progresses to an inevitable showdown with the aliens, the viewer is treated to more great performances from the supporting cast, including a cameo from Dan Akroyd that is perfectly delivered. At the same time, the effects, which are contemporaneous with "Jurassic Park II" still view well, even if they aren't cutting edge. In particular, there is a dragon -type creature that ranks among the best CGI creations I have encountered (pre-Gollum of LOTR, of course).

Finally, unlike far too many DVD's, "Evolution" offers a great value in terms of quality and extras. The sound and picture are both excellent, but that is becoming more of the norm than the exception. Where the disc really shines is in the bonus features. The deleted scenes are well chosen and include commentary that offers an interesting look at the film making process. Moreover, storyboards, commentary and visual effects features all make for an entertaining, interesting viewing experience.

What this review really comes down to is this: if you don't appreciate silly humor, if you pick apart movies for the slightest flaws, skip "Evolution", you won't like it. Conversely, if you enjoy the give and take that comes from a cast that obviously enjoys working together, if you appreciate good special effects, and if a good "popcorn" movie is what you crave, "Evolution" is right up your alley. I've watched it literally dozens of times and I never get tired of it. It's eminently quotable, fun to watch, and makes great use of its cast, and silly or not, is a movie I never get tired of.

Enjoy!

Jake Mohlman ... Read more

Amazon.com essential video

Despite its box-office failure in 1981, Dragonslayer was gradually recognized as one of the finest fantasies to emerge from the post-Star Wars boom in special effects. It's still one of the best adventures of its kind, featuring one of the most fearsome fire-breathing serpents in movie history. Ominously named Vermithrax Pejorative, this ill-tempered monster terrorizes the peasantry of sixth-century England, feeding on maidens sacrificed by a duplicitous king until a sorcerer's apprentice named Galen (Peter MacNicol, long before Ally McBeal) is recruited as a reluctant hero. Aided by a tenacious beauty (Caitlin Clarke) and his resurrected mentor (Ralph Richardson), Galen confronts the soaring beast in a breathtaking climax. Employing a then-innovative technique called Go-Motion to animate the dragon, the special effects are still dazzling, and stunning locations in Scotland and Wales allow director Matthew Robbins (cowriter of Steven Spielberg's feature debut, The Sugarland Express) to maintain a vivid atmosphere for the wealth of movie magic. --Jeff Shannon ... Read more

Reviews (67)

One of the best fantasy films I have seen
And face it, there just aren't all that many great fantasy films around; "Dragonslayer" stands out, especially in the 80s era, where fantasy films were often a silly sword-and-sorcery affair. It is a dark tale of a sorcerer and a dragon that he must destroy, a fantasy story in the most classical sense of the word. The special effects might look just a little out-dated, but they still hold well for audience today. The acting is just a little contrived (with the exception of the sorcerer, performed by the great British actor Richardson), but the focus is not as much on the characters as on the atmosphere and the tale itself. What I like best about this films is that it is not quirky or childish, but has an atmosphere that holds true to the darker world of old fairy tales. I would love to see this movie come to DVD.

Dragonslayer!!!
Wow, it's about time! Dragonslayer, man! Remember Dragonslayer? If you had HBO back in the good ol' days, you most likely saw this many, many times along with The Beastmaster. This is THE dragon flick. It's everything you could hope for in a fantasy film. This is no wimpy dragon flick. Hollywood loves to throw all these friendly dragons into their films anymore, which is extremely irritating. You won't see some human loving dragon with Sean Connery's voice in this one! It may be PG rated, but it is quite dark, serious, and very violent. Your kids won't be wishing with all their hearts to fly with this dragon in the Land of Art, I can tell ya that right now! She ain't white and fluffy and willing to take you beyond the boundaries of Fantasia either. This dragon is pissed. This dragon is burning the village virgins to a cinder, and letting her kids chomp away at the princess. This is the kind of dragon from fairy tales, this sucker is scary! This dragon is probably the scariest and best looking put on film. The effects were pretty good for 82 , and the dragon is still creepy and convincing. The dragon doesn't have much screen time, but that's fine considering a very good story is fed to us. There are some decent performances too, especially Ralph Richardson as the wizard. I have not seen an actor since that fits the role of a wizard the way Ralph does here. Sorry, Mr. McKellen. Now that it's here, get it. It's the perfect addition to your fantasy flick collection, and will easily find a spot between Krull and Conan The Destroyer.

Slayer
Yes, of course it is showing its age. It was made in 1981. This does not change the fact that this movie totally owns. This rocked back in the day and it continues to rock if for nothing but the pure nostalgia factor (showing this movie to my older brother will be sure to conjure memories). 1981 seemed to be a big year for movies about Knights, swords and sorcery. This was one of the best and remained the best for a long time to come. Only today, with slick computer graphics do we see the failures of the special effects here and there. However, they tried their best, really they did. It remains an impressive tale about magic, progress, advancement, and heroism. One of the more memorable lines from this movie was something like :

"Well, I'm glad that magic is fading from this world, the dragons are fading along with it."

Hmmm.

Good when it came out--and still good now!
This has been a favorite of mine over the years, and its stood the test of time--I still like it! I especially like the characters, the way it lets you understand their motives without asking you to accept them. It shows you peoples foibles as well as their strengths. It includes several horrific scenes, but doesn't bog down in explicit detailing of gore (for example, when the princess sacrifices herself to the dragon, you don't see her killed, but only see a glimpse of her body where the baby dragons are feeding). Or, the old servant is murdered, and before he dies he says, "Someone's shot me!" in a voice of surprise, like he can't understand why someone would do that. And the dragon was believable to me. I accepted its sadness at being at the end of an era and without having a place in the new one. Dragonslayer is a good story supported by special effects and not the other way around--a movie with loads of special effects and no story--that would be boring!

More of a Merchant-Ivory costume drama than swords & sorcery
Dragonslayer is very much like a Merchant-Ivory costume drama -only with a fire-breathing dragon! Like Merchant-Ivory films, Dragonslayer is well-written, beautifully photographed, designed with an amazing eye for authentic costumes, sets and props to the last detail and masterfully acted by all the supporting characters. Unfortunately, like other M-I films, there is little action and a very unsypathetic "hero".

The plot: For years, the kingdom of Urland has managed to avoid being incinerated by a dragon by offering up maidens as a twice-annual meal. Like the draft during Vietnam, the lottery by which the virgins are chosen is more or less rigged to guarantee that the children of the rich and/ or well-connected aren't conscripted as dragon bait. One thing the movie should have addressed is the question of why the virgins of Urland don't "dodge the draft" in a rather easy and obvious (and fun!) way.

Since there are no slots in the "champagne unit" of the Texas Air Guard available to a young commoner named Valerian, she has spent her youth dressed like a boy. However, she refuses to just sit by as other girls are devoured, so she and other peasants seek out a wizard to kill the dragon.

The only one they find is Ulric (played perfectly as an almost senile hermit by Ralph Richardson), an octogenarian who lives 300 miles away and appears to already have one foot in the grave. He doesn't even look like he can travel all the way to Urland, let alone fight a dragon. He is also handicapped by a a clumsy and dull-witted apprentice, Galen (Peter MacNicol).

Enter Tyrian (Jack Hallam) a wonderfull villain played by a wonderfull actor. He thinks the old magician is a fraud and a troublemaker and calls him out. When he goes into his harangue about how wizards are con-artists and says "But comes a doubter..." you realize it's a great performance. Like others in Urland, Tyrian actually benefits from the sacrifice of young girls to the dragon. Like any society beset by a scary enough menace, people will allow their "protector" to get away with anything -even murder- if it means keeping the beast at bay. Tyrian serves King Cassiodorus Rex (Peter Eyre), who came up with the lottery (the "tiles" look suspiciously like old-style Army dog tags -a clever touch) after his brother, King Gaiseric tried to kill the dragon but was himself killed.

The over-eager and under-intelligent Galen tries to kill the dragon himself. Between his bungling, the King's conniving and pressure from the villagers whose homes and crops get turned to ashes, Galen finds himself in a deeper and deeper pit.

At this point, the movie falters. The fight scene between Tyrian and Galen is almost humorously bad. The fight with the dragon is great, but suddenly stopped for no apparent reason -it just switches to dawn the next day. And the way the dragon is beaten lacks any kind of thrill or suspense whatsoever. Peter MacNicol is badly miscast and other reviewers are right in pointing out how conspicuous American accents in a movie with an almost entirely British cast kills the suspension of disbelief.

Another problem is the score by Alex North. It's just plain bad.

On the other hand, Caitlin Clarke (American accent notwithstanding) is pretty good. Other reviewers think of her as a bit of a Plain Jane, but they forget that she is pretty (though not by absurd movie standards) and she can't have Kate Beckinsale's cute little button nose and pass herself off as a boy. The rest of the cast is perfect.

Of all the sword & sorcery films ever made, Dragonslayer is the best scripted and by far the best acted. The costumes are 100% accurate for the 6th-7th centuries in northern Europe, contrary to some assertions made here. If it had more action and a more appealing hero with real chemistry with the female lead, this movie would be a classic.

Finally, the dragon (Vermithrax pejorative) is the best dragon ever on screen, with the ones from Reign of Fire a close second. Vermithrax actually has personality! The special effects guys must have had Lee Strasburg coach her! The fact that she is used sparingly helps, too.

This is a good, but not great movie and I recommend it. ... Read more

Reviews (100)

The Best Steven King Movie Ever
One of the best psychological thrillers ever made, "Misery" is a tride and true adaption of the classic Steven King bestseller, white - knuckle tale filled with suspense that only someone as brilliant as King himself could ever provide

Paul Sheldon (played flawlessly by James Caan) is the author of a very successful book series called "Misery". But after years of success, he decides to kill the character once and for all and get on with his life. He finishes his book, but disaster strikes on his way back to New York. He gets caught in a snow storm and crashes his car. He is on the verge of death when a seemingly harmless nurse named Annie Wilkes (Kathy Bates in an Oscar - winning role), who claims she's his number one fan. At first, Paul really enjoys Annie's company. Then Annie has several outbursts (including the now infamous ankle - breaking sequence), and Paul becomes suspicous of her past. From here on it's a tense battle between cat and mouse. And if you've never read the book before, then you're in for one of the creepiest endings in your life.

No movie fan should be without "Misery". It is in a class of its own, different from other King classics like "Carrie", "Cuju" and "The Shining". If those films didn't do it for you, then "Misery" will get your blood pumping, your palms sweating and your heart racing in no time.

I Feel Your Pain!
I Feel Your Pain!

Misery is a 1990 suspense drama released by Castle Rock Entertainment, directed by Rob Reiner, with a running time of 107 minutes. Based on a Stephen King novel, this drama is considerably enhanced by the performance of its leads, James Caan (Paul Sheldon) and Kathy Bates (Annie Wilkes).
The tale is really very simple. Paul Sheldon is a successful writer whose career has been made on the back of a series of novels about a 19th century heroine that he is growing weary of, called "Misery." Although she has been the focus of a hugely popular series of novels, Paul wishes to 'retire' the character and focus on writing something more personal. After finishing his latest book, Paul sets out from a Colorado lodge nestled in the Rocky Mountains and begins his drive back to the city during a horrible snowstorm. Let's just say he doesn't make it.
As luck would have it, former nurse Annie Wilkes is passing by and drags him from the wreck. When he comes to, he is in bed being tended to by his 'number one fan' (Annie) in her home. Annie assists Paul in his recuperation, as both legs and an arm are broken as a result of his accident. His gratitude soon turns to concern though, as it become increasingly clear that her love of his Misery novels is far from normal. This unhealthy obsession is only too apparent as she finishes his latest manuscript where Misery dies. To say she becomes outraged would be an understatement. Her rage and insistence that he should rewrite the book leads him to becoming a prisoner in her home.
You would think that a movie centered on two characters in one room wouldn't offer much in the way of excitement, but you need to see this movie! As it becomes quite clear to Paul that help is not on the way, the movie takes on claustrophobic urgency. You find yourself yelling at him, trying to help him escape. As Annie spirals slowly into insanity, things begin to look even bleaker for Paul.
Kathy Bates deservedly took home an Oscar and Golden Globe award for her performance as Annie, and James Caan is wonderful in what must have been a difficult role to play, since he spends most of his time in casts lying in a bed.
Misery is not your typical dramatic movie. It will keep you on the edge of your seat and make you second-guess whether you would really like to be rescued, in a snowstorm, by a "good Samaritan." I give the movie a 4-star rating and recommend it for all viewers, especially Stephen King fans.

Fantastic
The scary thing about Steven King's novels is that they're not that ridiculous. This one in particular, could very well happen. Just remember the penguin always looks south.

Intense and very original.
Misery is by far one of my favorite movies. A writer gets in a car accident and ends up being held at this crazy nurse's home.Excellent plot & fantastic ending---A must've for any one into suspense and who loves S. king's books & movies.

"She can't be dead, MISERY CHASTAIN CANNOT BE DEAD!"
By now pretty much everybody knows the rule that the best movies made from Stephen King novels do not put his name above the title and do not trumpet the fact in the trailer. This would be film's like "Stand By Me," "The Shawshank Redemption," "The Green Mile," and, of course, "Misery." Director Rob Reiner did the first and last films on that list, so he would know. The idea in this 1990 film is fairly simple and one that obviously would send shivers up and down King's own spine: what if an author became the captive of his "number one fan," who, needless to say, is a psychotic maniac?

Paul Sheldon (James Caan) is a famous writer, who has been turning out historical bodice rippers about a heroine named Misery Chastain. As was the case with Arthur Conan Doyle, who killed off Sherlock Holmes at one point, and Edgar Rice Burroughs, who tried to kill off Tarzan's Jane, Sheldon has enough of his fictional creation and has killed her off in a book about to hit the stands. Meanwhile he has just finished a new novel about the slums in which he grew up that he hopes will establish his reputation as a serious writer. However, after he leaves the secluded Colorado Hotel where he goes to write his books his car crashes during a snowstorm and he is horribly hurt. But before he dies he is taken from his car and when he awakes he finds himself in a bed, both of his legs broken, and in the care of Annie Wilkes (Kathy Bates), a nurse who gleefully informs Paul that she is his "number one fan."

Grateful to be alive and believing Annie's story that they are snowed in and that the phone lines are down because of the storm, Paul recuperates. He even lets Annie read his new manuscript, a privilege reserved for his editor, agent, and anybody who saves his life. But Annie does not like Paul's new novel and when she discovers he has killed off Misery she goes off the deep end. It becomes clear to Paul that if he has any hope of getting out of there alive, he is going to have to bow to dictates of his "number one fan" and bring Misery Chastain back from the grave.

Meanwhile, Paul's agent (Lauren Bacall) has called up the local sheriff (Richard Farnsworth) and alerted him to the fact that the writer, on his way to New York with a new manuscript, has disappeared. With the help of his plucky wife (Frances Sternhagen), the sheriff starts to search for Paul, who is trying to find some way of getting away from Annie, even in his hobbled condition. Unfortunately, the more he learns about Annie, the less he likes his prospects and the more desperate his condition becomes.

The original novel had a great irony in that under Annie's stern editorial guidance Paul is rather mortified to find the new Misery novel he is writing is the best thing he has ever done. But with William Goldman's script the novel he is writing is but a small part of the game of cat and mouse between Annie and Paul. Once it becomes clear Annie is insane Paul faces the daunting task of keeping on the slippery slope of her good side. Besides, Goldman knows that the whole bit that King did in the novel with Paul's typewriter, which keeps losing keys as his work goes along, would not translate to the film, so he did not even try.

This film represented the second time King created a female character who would be nominated for a Best Actress Oscar, the difference being that Kathy Bates won for "Misery" whereas Sissy Spacek did not for "Carrie." While Caan turns in a solid performance as a character bound to a bed or wheelchair for most of the film, ultimately it is Bates who makes this film work with the way that she goes from sweet to sour on the drop of a pin. Annie's is a many faceted lunacy and part of the terror is that Paul never knows which one will come walking through the door or back out of it again. "Misery" struck me as being a flip on "The Exorcist" in that instead of being afraid of what we would find when we walked through the door, this time we were afraid of what was going to open the door and walk through.

"Misery" is a relatively simple and rather intimate horror film. This time King's monster is a human being and that makes Annie Wilkes one of the scariest, especially as she is played by Bates. When you think of all the fine cinematic performances Bates has turned in since then, especially in "Dolores Claiborne" and "Primary Colors," you have to be glad that Bette Midler turned down the role of Annie when it was offered to her. ... Read more

Amazon.com

Chapter three of George Romero's mighty zombie trilogy has big footsteps to follow. Night of the Living Dead was a classic that revitalized a certain corner of the cinema, and Dawn of the Dead was nothing short of epic. Day of the Dead, however, has always been regarded as a comedown compared to those twin peaks--and perhaps it is. But on its own terms, this is an awfully effective horror movie, made with Romero's customary social satire and cinematic vigor--when a "retrained" zombie responds to the "Ode to Joy," the film is in genuinely haunting territory. The story is set inside a sunken military complex, where Army and medical staff, supposedly working on a solution to the zombie problem, are going crazy (strongly foreshadowing the final act of 28 Days Later). Tom Savini's makeup effects could make even hardcore gore fans tear off their own heads in amazement. --Robert Horton ... Read more

Reviews (217)

Well made flim to the last Romero zombie trilogy.
I review this film before and the only reason, what i the film again. Because of the DVD. The picture quatily is Above Average but I thought some of the darker scenes, it`s looks digital, would be Better than the VHS. But again it`s all right. The Dolby Digital 2.0 Mono is pretty good. Anyway John Harrison music, he compose for the film is Above Average. Some excellent Make-Up work from Tom Savini(He directed the fine remake of Night Of The Living Dead.) Writer and Director-George A. Romero is most underrated film to Date. Good Cast for the unknown actors, I did like Lori Cardille(Her Father played The T.V interviewer in Night Of The Living Dead and the Remake.), John Amplas(His Excellent Performance in George A. Romero`s Martin). Joe Pilato(Little Known for playing a Cop in U.S. theartical cut of Dawn of the Dead.Terry Alexander, Joseph Conroy, Antone Dileo and Gary Howard Klar and again Richard Liberty.

Am sure Anchor Bay Entertainment are planning to resorted the picture to be much brighter and also the sound. Also an commentary track from the director:Geroge A. Romero and Tom Savini. One of Romero`s best films and also the most underrated one. Grade:A-.

Mmmmm.....apocalicious!
A fine horror film in its own right, but it suffers in comparison to "Dawn of the Dead". Where "Dawn" thematically succeeds on its criticism of consumerism, it's hard to find where "Day" fits in the trilogy. And George Romero himself has stated that this was only a shadow of the original "dead" grand finale he envisioned. But the good news is that maybe we'll see a another sequel some day? It's time...the world needs another Zombie film!

But no matter...it's creepy, apocalyptic nightmare that probes a primal fear, i.e. being eaten. It's quite well-acted (in a yelling and screaming sort of way) in spite of its other shortcomings. Lori Cardille and Jarlath Conroy stand out; too bad they haven't done more film work (both are very active in indie/theater work). Josef Pilato has gone on to character roles, including Dean Martin in "Pulp Fiction".

One note regarding the special effects...they're *really* disturbing, especially Sarah's field surgery upon Miguel. But people don't pull apart or break quite so easily.

It's well worth seeing. If you can still find it, buy it. The extras (including a home video "making of" documentary) are compelling.

Divimax delivers the best edition ever
This is one of the best DVD re-releases I have ever purchased. I have always been a fan of the George A. Romero films, and Day of the Dead has always been one of his best. This DVD is loaded with bonus features. 2 featurettes, Trailers, Commentary, and photo galleries. An absolute must for all fans.

The best of the trilogy
I loved 'Night' and 'Dawn,' but 'Day of the Dead' is the ultimate zombie flick and George Romero's masterpiece. It was ridiculously underrated upon its release, but I'm sure its audience grows by the day. It's bleak, ugly, gory, and funny. Love the post-apocalyptic plotline, love the scenes of amateur actors screaming at each other until their temples protrude, love Bub, and love his zombie brethren staggering around moaning and ripping people's faces off. This is what zombie movies are all about.

DAY OF THE DEAD
NOT AS GOOD AS ROMEROS OTHER ZOMBIE FILMS.A LITTLE DRAGGED OUT AND TIRING AT TIMES. BUT,STILL WORTH CHECKING OUT THE ZOMBIES.THIS FILM DOES HAVE ITS MOMENTS AND HAS A CLAUSTROPHOBIC FEEL TO IT. HAVE TO ADD TO YOUR GHOUL COLLECTION!!! ... Read more

Description

Nicolas Roeg's mystical masterpiece chronicles the physical, spiritual, and emotional journey of a sister and brother abandoned in the harsh Australian outback. Joining an Aborigine boy on his walkabout-a tribal initiation into manhood-these modern children pass from innocence into experience as they are thrust from the comforts of civilization into the savagery of the natural world. ... Read more

Reviews (59)

Intricate Beauty
For some reasons I had reservations about seeing this film when I first heard about it; maybe because what I heard and the advertising I saw didn't begin to hint at its depth. Ostensibly its the story of two WASPs who get stranded in the Australian outback and meet an aborigine boy who helps them to surive their journey back to civilization. Most noticeably, for me, the movie criticizes the spiritual emptiness of civilized society and lets the viewer glimpse at some of uncharted territory's secret beauty. The movie works fine on this level. But its brilliance lies in how many different levels it does work, and its subtlety.

It is a tragic story of two people who fail to communicate. The blindess of the girl (presented in quite a harsh light, and a symbolic big slap in the face to whitey now that I rethink it) despite huge language and cultural differences is inept or unwilling to understand the aborigine boy's perspective. Indeed she is deeply rooted in Anglo-Saxon values -- only the young boy, her companion, is able to break down the barrier and communicate simple ideas.

There are points in the film that expose sexual tension as brilliantly and as subtley as I have ever seen. It is vastly important that the boy is not dramatized or stylized in any way, he seems really to have been picked out of the outback and cast directly in the movie. His behavior should seem at least somewhat bewildering to the audience, it was to me, particularly in the haunting mating dance scene. The girl rejects him out of a lack of understanding and fear, and he sheds tears of failure. Was sexual consumation a part of his walkabout or did he fall deeply for this girl. What are the cues to suggest the latter? I'd have to watch the movie again.

Walkabout is delicate and complex but doesn't spoil itself by becoming overambitious. There are many, many internal psychological and emotional aspects of the two children that remain rightfully unexplored. Suffice to say being shot at by your dad and stranded in the wilderness might create some wrenching immediate -- nevermind longterm -- consequences. The film could easily have veered off into myriad branches and lost track of itself. Roeg decides to focus on particular elements and does so meticulously and with grace.

And for the film's obvious disdain for civilized society, it doesn't necessarily suggest that the boy has an easier or more satisfying life. It merely presents a different angle -- though that angle is shot in breathtaking, but unsentimental, beauty. There is no sap in this film; the score is moving but does not grab forcefully at one's heartstrings. The shots of the outback are gorgeous, but they do not imply any false notions of peace in nature. And for these very reasons, the film, I would imagine, would be great at exposing both beauty and the harsh face of reality to kids despite all the complexity that wouldn't be understood.

ANOTHER LITTLE GEM FROM CRITERION
Second movie of director Nicolas Roeg, WALKABOUT is a rather pessimistic description of the cultural gaps created by our civilization. In order to illustrate his ideas, Roeg and writer Edward Bond imagine the encounter between two young australians lost in the outback and an aborigenes who will help them to come back to a more civilized world.

This encounter which could have produced a lifelong friendship will end in a dramatic manner. Because cultural differences are far more powerful than love or the desire to understand each other. Simple story, simple theme but universal.

Breath-taking cinematography, admirable young actors and a light poetic touch are sufficient reasons to see at least once WALKABOUT. It is also really amazing to observe how Nicolas Roeg has been able to convert this trip in the wilderness in a symbolic sexual initiation in the heart of a Nature that can only show the way to these young adults.

Terrific video transfer and above-average extra-features.

A DVD for the child in you.

walkabout
DONT LET THE OTHER REVIEWS THROW YOU> I honestly thought that the end credits were the best part of this movie. I thought that the acting was bad, the sound was horrible,there was no plot and there were quite a few tasteless scenes.I felt ripped off as the Criterion Collection usually has GOOD movies. Im sorry to say but someone goofed in picking this movie for the collection.

One of the Great Films
Walkabout is simply one of the best films ever made. The photography and editing are exceptional. The sound editing is better than in any other film I have seen.
However I disagree with SOME of the reviews which seem to indicate that the film is some kind of hymn of praise direted towards the primitive aboriginals and a condemnation of modern society. Roeg seems to be saying there are problems in both. After all, both the girl's father and the aborigine kill themselves, though more criticism is naturally reserved for civilization. There is plenty of animal killing here, but except for the white hunters, it is done for food so I don't see what the problem is. People who buy food from supermarkets really just want to mentaly distance themseselves from the foodchain process.
Still, the story, the scenery, the acting, and the direction make this a movie not to miss. The failed courtship scenes before the second suicide are some of the best sequences on film.

Coming of age in the outback of Australia
A very unusual film for its time, Walkabout combines many themes in what is ostensibly a tale of survival in the Australian outback. I suppose it was a bit too racy for American audiences as Roeg focuses lovingly on a young nubile Jenny Augutter but that would be missing the point of this movie which contrasts the sterile life of a young British girl and boy with an Aborigine man-child.

The film depicts the initial bleakness of the Australian desert which the two children find themselves thrust into after the father mysteriously chooses to commit suicide, but eventually shows the immense diversity of the outback as the young Aborigine lea