Reviews (127)

One of the Best Movies of the 1990s.
Let me get this out of the way: in grade school, I was teased. A lot. In fact, it was so bad that even walking to school was an emotionally and physically painful experience. I can relate to every second of misery Dawn endures in the dynamite "Welcome to the Dollhouse." Most films like "Sixteen Candles" view high school as some insulated paradise. Not this film. Here, Dawn (played by Heather Matarazzo) is as socially inept as a pre-teen girl can be. She is subject to taunts, verbal assault, and vicious mind games at the hands of her classmates. Home life isn't much better; her parents blissfully ignore her while they shower attention on her cutsey younger sister, Missy. They give her attention only when they catch her doing something wrong, which seems to be most of the time. On top of this, she develops a crush for the teenage lead singer of her brother's band. Anyone who has experienced unrequieted love will find this subplot heartbreaking to watch. Despite the above, "Welcome to the Dollhouse" is a murderously funny movie to watch, even if you were a victim of grade school teasing. The performances are dead-on and it's one of my favorite movies of the 1990's.

A painfully honest film you will never forget
Bold, unabashedly honest, psychologically riveting, and painfully mesmerizing are just a few of the words and expressions that come to mind when I think about this uniquely extraordinary film. First shown at the 1996 Sundance Film Festival, Welcome to the Dollhouse walked away with the grand jury prize, and it is easy to see why. Writer/director/producer Todd Solondz brought a unique vision of the sharpest kind to this film, cutting right through the fluff of the typical "geek makes good" nonsense and forcing his artistic scalpel forcefully down into the nethermost regions of the adolescent heart. The story is so unsettling and painfully uncomfortable that some parents hesitated or refused to let their children participate in the filming. It's just an amazing, unforgettable movie.

Eleven-year-old Heather Matarrazzo gives one of the most remarkable performances I've ever seen from an actress of such tender age. Her eyes and bodily expressions encapsulate and transmit the hurt and misery writhing inside her every moment, leaving the viewer helpless to do anything but watch with increasingly unrestrained unease. Born with the unfortunate name of Dawn Weiner, the poor girl is ridiculed, ignored, teased, insulted, and basically mentally terrorized every day at school. Chants of "Weiner Dog" follow her throughout the hallways, her locker is marked with awful graffiti, and even her teachers and administrators are less than kind to her. Then, after school, she has to come home to parents who dote on her smart older brother and "little miss perfect" younger sister. Dawn has only one friend, a younger neighbor boy who seems to be following in her ignominiously alienated footsteps. Dawn does not escape all of this mentally unscathed, taking her own anger out on her sister in particular and doing several things that good girls should not do. In the most surreal of story elements, Dawn longs to be rescued from her situation by a boy, but hers is not a Cinderella type of fantasy. Her infatuation with a rebellious high school boy is somewhat understandable, but her relationship with a certain school bully is nothing short of surreal. I only wish I could discuss the psychology of this aspect of the movie in this context.

The one thing that really struck me about this movie is the fact that we never see Dawn cry; she internalizes all of her torments, and this does not have a pretty effect on her. I may be inventing a phrase here, but the director's vision seems to me to have been one of unsympathetic compassion. Far from holding Dawn up as the paragon of innocent, unrecognized virtue whose Prince Charming will come some day, he gives us a girl who becomes cruel in her own right to those few people around her, turning her hatred of others into a deep hatred of herself, several times teetering on the peak of mental unbalance. Solondz does not stray anywhere near the realm of fairy tale, as this ugly duckling does have an ugly side to her. The brutal honesty and lack of a visibly sympathetic portrayal of the character makes her worst moments even more unbearable to the viewer, and this is where the compassion kicks in. Solondz seemingly makes no effort to redeem this character in our eyes, yet the fact that he shows us, in such a harsh and brutal way, the miseries of this poor child's life makes her a character you desperately want to see find a degree of happiness.

The only thing I don't really understand about Welcome to the Dollhouse is the dark comedy label it seems to have acquired. I found nothing funny whatsoever about anything I saw here. Maybe that's the sensitivity of the former nerd in me, but honestly this movie is just utterly dark and depressing. Those looking for laughs will probably not embrace Welcome to the Dollhouse, but those who want to see the harsh light of truth shone into the bottom of an individual's soul and learn something from the painful experience will walk away from this film a different person than they were an hour and a half earlier. This movie has the power to touch you in ways you may never have imagined.

Everybody Runs Away....
Todd Solondz' WELCOME TO THE DOLLHOUSE was one of those films that was "on my list" for many years. I had seen his second film HAPPINESS and was intrigued by Solondz dark dark humor. Why it took me so long to take in another of his films is hard to explain. Every review I had read of DOLLHOUSE praised it (and even some reviewers who literally hated HAPPINESS were oddly touched by this debut film). Perhaps it took me a year or so to summon up enough strength to take another Solondz flick. Now that I think about it, such hesitancy only seems natural. As it turns out, however, biting as it is, DOLLHOUSE is still a heck of a lot easier to watch than its follow-up.

Perhaps it's because as some reviewers here suggest, we all have our own "inner Dawn Wiener." It's easy to identify with this ungainly, hopelessly unpopular teenager--with the awful barrettes and clothes, a brainy older brother, and pertly adorable younger sister. We can all cop to that one pretty much. (If you identify at all with the characters in HAPPINESS, you probably wouldn't want to admit it.) But I honestly don't think that Solondz' intent was to get viewers in touch with their "inner adolescent." He's going after something bigger than that--and more sinister too.

I guess it shouldn't be so surprising that many reviewers here identify with Dawn, but when they start calling the film "realistic," you have to wonder. If there was ever a film that was an exercise in pop SURrealism, this is it.
As a teen alienation flick, I'd rate it right up there with GHOST WORLD, and like that film, it has a distorted, fun-house-mirror quality--that is, I'll grant you, simultaneously more and less real that mere realism. (I guess that's the essence of SURREALISM). Dawn's parents, for example, are little more than cartoon figures--at least until her father has a near nervous breakdown.

And doesn't that reflect a teenage sense of reality even better than sheer realism, after all? Your average teen doesn't see his or her parents as full-fledged human beings. They're way too busy with their own boiling over emotions. Until their parents humanity hits them in the face, kids see them through the looking glass, darkly--if at all.

Which is not to say that either of Dawn's parents becomes remotely sympathetic. Interesting too how in the end, Dawn's two almost-boyfriends have run away to the city. Dawn kinda sorta runs away herself trying to track downr her kidnapped little sister. Seems like anyone with a lick of sense gets out of that town.

realistic account
welcome to the dollhouse is a touching and realistic account of what its like to be on the outskirts of growing up. dawn is a young gyrl trying to fight her way in. she deals with bullies, her parents rejection, and her own self hate. the film has its funny moments such as dawn standing over her sleeping sister's bed with a hammer in her hands. the character of dawn is well played but barely develops. brendon sexton jr plays brandon, a bully in his own right but has feelings for dawn. his role is small but quite significant. dawn's family is very unlikeable strictly because of their arrogance and complete disregard of dawn.
overall the film is good. you will find yourself not only sympathizing with dawn but may find her angst and vulnerbility alittle like your own in the often harsh world of growing up. the ending could be better; it leaves you wondering about alot of things. but despite the ending the film is heartfelt and very satisfying.

Painfully realistic
I felt like switching this movie off a lot of the time. Having been where Dawn was throughout high school, I didn't think it was possible for me to watch right to the end. I was told that this movie was the story of my life. Not quite. But I did identify with some parts - Dawn being called a loner, her looks, being called ugly. But what really upset me, was the director heavily focusing on looks in the movie. I don't know why I still get upset over that kind of thing in movies. And the fact that Dawn does exactly what everyone does to her - she turns round, and says hurts them. But that's cos she's been bullied herself, so effectively, she turns into the bully.

But of course, we've all been there, haven't we? Don't say you haven't, go and dig out your old photo album. Look at the dorky hair, clothes, teeth in bad need of a brace - I could go on. And we've all had that embarrassing, awkward first kiss - I've NEVER put a spell on a guy just to make him like me! (It wouldn't work, believe me)

Heather Matarazzo, although quite pretty now, is probably always going to be cast in "character" roles, than anything else. What I really hated was where were all the kids with bad skin?! Even Dawn had porcelain skin. It's not fair, nor is it true.

Dawn was made to look all the worse, by constantly having her hair scraped back, made to wear god-awful clothes, and those terrible clothes (although I found an old pair of glasses when cleaning out my drawers - did I wear those?!)

This is a good film to watch, although I can't see myself touching a guy with a bargepole who bullied me, or called me names. That bit just didn't ring true. It's not a film I would watch again, it upset me that bit too much. But it's worth having a look at if you can get your hands on a copy. ... Read more

Reviews (4)

MYSTERT MAGNIFIQUE!
It's no mystery why this is the most-watched detective show in the history of the PBS "Mystery!" series --- Christie penned a brilliant Belgian [detective]who solves crimes only using
his "little grey cells" and the aid of his affable associate Captain Hastings. And not one hair out of place on his perfectly coifed hairy lip! No mystery why fans shouldn't host sleuthing fetes: Acorn is releasing the entire canon! Mystery magnifique!

STEP OUTSIDE THE BOX WITH POIROT
The supernatural provides an eerie undertone in this trio of episodes featuring Agatha Christie's most famous detective. Poirot's secretary Miss Lemon (Pauline Moran) experiments with the Ouija board and tarot cards; she even hypnotizes a murder victim's widow (with some success) in "The Underdog." And is an ancient Egyptian curse responsible for the four untimely deaths in "The Adventure of the Egyptian Tomb"? Poirot braves the untidy desert sand to find out. Finally, in "Yellow Iris," friends and family gather for dinner to commemorate the second anniversary of a woman's death; the atmosphere at the table is so charged one almost expects the victim to come back from the dead.
As always, the fastidious habits of Poirot (played to perfection by David Suchet) and the charming naiveté of his assistant Hastings (Hugh Fraser) add just the right touch of levity to these grim tales. For this, one must credit the scriptwriters as much as the actors--their addition of witty exchanges and subplots make Christie's stories even more delightful onscreen than on the printed page.

HERCULE POIROT HELPS YOU STEP OUSIDE THE BOX

Yellow Iris RULES!
Okay, so it's my favorite one-hour episode, forgive me!

The Adventure of the Egyptian Tomb - Great! Quite different from all preceeding episodes, and while a more complex solution would have been nice, the build-up makes the episode wonderfully multi-faceted! - 4.5 stars

The Under Dog - Well, this was the under dog of this set, but it's actually pretty good. Again, the solution was just a little too simple for my taste, but I did like the "Trapped behind the curtain" bit. - 3.5 stars

Yellow Iris - It's hard to say how much I like this! Probably only the third episode in which the music really hit home with me (the other two being the Cornish Mystery and Double Sin) and the whole recreation of the murder scene, and flash back, and the murder's Pshycological moment thing were intertwined incredibly well! BRAVO BRAVO BRAVO! - 5 stars

Box Set Overall score (Not an Average) - 5 stars

Three thumping good entries in the Poirot series
The seventh set of 3 mysteries is now available from Acorn Media and all three are very satisfactory indeed.

"The Adventure of the Egyptian Tomb" starts with a wonderful mixture of old newsreel footage and newly filmed studio shots of an Egyptian tomb being excavated and the entire premise bears more than a passing similarity to the Karloff film "The Mummy." As always, a little subplot is added to the original scenario that somehow ties in thematically (and now and then dramatically). The seeming curse on all those who attended the original opening of the tomb is killing them off but in very dissimilar ways. By putting his own life in the hazard--though not very deeply, as it turns out--Poirot forces the culprit to show his hand. As with all of the episodes in this series, the production values are high.

"The Underdog" concerns British businessmen who don't mind turning a profit even if it is with Nazi Germany. The scenes at the chemical plant are imposing, the red herrings well cooked up, and the acting up to standard for these productions. If the murder scene is a bit overly crowded (even for Christie), it does give us a chance to see the crime from several points of view and the cast manages to keep things on the serious side of what is nearly a French farce of people hidden behind doors and curtains. Even Miss Lemon's abilities as a hypnotist help Poirot to gather the clues in this one.

"Yellow Iris" has Poirot caught up in a coup d'etat in Argentina and actually arrested for espionage, all of which prevents him from solving a murder at a French restaurant owned by an Italian in Buenos Aires. While his demonstration of how the first murder was done leaves one a little incredulous (are intended murder victims all such good actors on the spur of the moment?), the psychological assumption of the killer is quite clever, making one think, "Yes, it would work!"

For some reason, the box shows Poirot as he appears in an episode slated for Set 8. A little Acornian production slip up? Still, three examples of top notch little-gray-celling. ... Read more

Amazon.com essential video

Robert Clayton Dean (Will Smith) is a lawyer with a wife and family whose happily normal life is turned upside down after a chance meeting with a college buddy (Jason Lee) at a lingerie shop. Unbeknownst to the lawyer, he's just been burdened with a videotape of a congressman's assassination. Hot on the tail of this tape is a ruthless group of National Security Agents commanded by a belligerently ambitious fed named Reynolds (Jon Voight). Using surveillance from satellites, bugs, and other sophisticated snooping devices, the NSA infiltrates every facet of Dean's existence, tracing each physical and digital footprint he leaves. Driven by acute paranoia, Dean enlists the help of a clandestine former NSA operative named Brill (Gene Hackman), and Enemy of the State kicks into high-intensity hyperdrive.

Teaming up once again with producer Jerry Bruckheimer, Top Gun director Tony Scott demonstrates his glossy style with clever cinematography and breakneck pacing. Will Smith proves that there's more to his success than a brash sense of humor, giving a versatile performance that plausibly illustrates a man cracking under the strain of paranoid turmoil. Hackman steals the show by essentially reprising his role from The Conversation--just imagine his memorable character Harry Caul some 20 years later. Most of all, the film's depiction of high-tech surveillance is highly convincing and dramatically compelling, making this a cautionary tale with more substance than you'd normally expect from a Scott-Bruckheimer action extravaganza. --Jeremy Storey ... Read more

Reviews (184)

Identity Crisis
ENEMY OF THE STATE is a high-intensity thriller directed by Tony Scott (TOP GUN). Washington D.C. Attorney, Robert Dean (Will Smith) is unknowingly given a piece of evidence that ties a top official in the National Security Agency, (Jon Voight) to a political murder. All at once Dean's life is taken away from him and he is a man on the run. The only way that he can stay one step ahead of his lethal pursuers is to listen to a mysterious opperative (Gene Hackman) and he doesn't exactly trust him either. I think that the movie is saved from being too predictable, thanks to Will Smith and Gene Hackman, you really care about these two characters. Voight's bad guy is your typical bad guy in this film. But he isn't as memorable as, let us say, Dennis Hopper in SPEED or Alan Rickman in DIE HARD. The action is well staged and had enough punch to keep everythings moving. Produced by Jerry Bruckhiemer, the film is better than I anticipated it was going to be when I first heard about it during its theatrical run.

The only extras on the DVD, (aside from the trailer), are 2 mini-featurettes on the making of the film They seem ok but still are nothing more than EPKs (electronic press kits) If you like Smith and Hackman (and who doesn't?) than this is a keeper. This film is what I like to call a "true popcorn eating movie"

A Nice Surprise
I rented this expecting it to be totally mediocre, but at least worth a 3$ rental. I was pleasantly surprised to find this very watchable, thrilling, and something I'll probably rent again. Will Smith is great and easy on the eyes. All the acting was very good, though Jon Voight has popped up in so many movies lately I am starting to get tired of him. I didn't figure out how it was going to end, and the final showdown, plus how the main characters outwit the bad guys was great. Tom Sizemore I didn't recognize at first since he's put on so much weight, but he was fantastic. I give the writers extra points for not going for the cheap shot and having the bad guys kill Gene Hackman's kitty (if they had, I would have only given this movie one star, and probably not watched the rest). I thought that they did kind of beat you over the head with the "SURVEILLANCE IS BAD" message. After the first half hour it was like, ok, I get the idea guys. The various fictional super-sophisticated tracking devices were cool, and Tony and Ridley Scott always shoot their films beautifully. Oh, and the woman who played Will Smith's wife kicked a$$!

Enemy of the State (1998)
Director: Tony Scott
Cast: Will Smith, Gene Hackman, Jon Voight, Regina King, Loren Dean, Jake Busey, Barry Pepper.
Running Time: 127 minutes.
Rated R for violence and language.

Another producer Jerry Bruckheimer/director Tony Scott thrill ride without substance, this time pitting family man lawyer Robert Clayton Dean (played by Will Smith in a ho-hum performance) against a technologically-driven government. Not knowing that the trivial meeting with an old friend would cause him so much trouble, Dean gets sucked into a conspiracy case involving a rogue National Security Agent (Jon Voight) who killed a United States congressman because he accidentally received a video tape with footage of the murder. With incredible surveillance techniques and technology, Voight is able to track all of the lawyer's moves and keep tabs on him.

Our hero's life is turned upside down until he meets up with a stealthy former NSA active named Brill (played very well by Gene Hackman). With the assistance of Brill, Dean attacks the government head on and must learn the truth in order to save his life. Director Tony Scott brilliantly uses the camera to portray his views, jolting the characters through a series of incredible chase scenes, rip-roaring explosions, and intense firearm combat, but ultimately "Enemy of the State" focuses solely on the unbridled advances in special effects abilities that it keeps the audience from understanding the story and getting involved with the characters. Smith is only adequate in his first major "dramatic" role, while Hackman and Voight pick up some of the slack in their devilishly effective parts. A must-see if you are into big explosions and dynamite cinematography, but one to leave on the shelf if over-acting and a mediocre script are an annoyance.

For what it is, perfect
Enemy of the State is a breakneck thriller that genuinely keeps you on the edge of your seat and is a real nail-biter. It is incredibly well-constructed for what it is: slick, well-shot, gloriously pacey and even with a dash of interesting social question in there. Granted, often it is incredibly implausible, and his ability to sit back and be happy at the end despite all the carnage of what has happened, make it a little laughable, but the fact is, thats not the point with this kind of film - the point is it is truly thrilling, stylish and cool. You really get deep into it.

Will Smith is startlingly good in his best performance since Six Degrees Of Seperation - if only he would turn in these great performances in credible, interesting films more often, and is well supported by a strong cast that includes Gene Hackman, Jamie Kennedy and Jack Black amongst others. This comes highly reccomended for an evening's entertainment and is truly exhilirating and packed with plot and intrigue that puts most regurgitated, lame excuses for a storyline to shame. Great stuff.

Excellent
I strongly recommend you buy or at least rent this fantastic film. It's got it all, suspense, action and even comedy for the lad-eez, as Will Smith might say. It's got excellent pacing and great suspense. The storyline is a little implausible, but it's hollywood so just chill out and expect it. Kick back and watch this rollercoaster ride of a film.
Great performance from Will Smith, his best to date in fact, suggesting there is more than just comedy and Bad Boyz to his routine. And Gene Hackman too - what more could you want?
If i was Roger Ebert, i'd give it two thumbs up!
The DVD is loaded with extrea special features too, and that makes the DVD in particular a must. Don't just buy this film, make sure you get it on DVD.
I give it 8/10, but cos i'm generous i'll round it up to 5 stars, including those great DVD features. ... Read more

Reviews (26)

Woods steals the movie...as usual
Finally, back in print!

I'll be honest and admit first thing that I'm not a huge Oliver Stone fan. I rented this because James Woods is so entertaining in almost anything he's in. I was pleasantly surprised to find out that the movie itself turned out to be pretty good, too. The movies I liked that Stone directed didn't have a big political message, like U-Turn, The Doors, and Natural Born Killers (ok, that last one was slightly political) The only overtly hit-you-over-the-head-with-the-message scene in this movie is one where Woods and Savage were taking photos of a huge amount of dead bodies in a dump, and there's a subtitle saying "Blah-blah, dumping ground for corpses killed by death squads" (or something similar) Oh really? Thanks for the explanation Mr. Stone, I would have thought they were at the zoo.

I probably wasn't supposed to find this movie as funny as I did, but God James Woods was so hilarious. It's just his timing, or the way he says stuff --for example, "Hey man, where else can you get a 17-year old to (perform a sexual act that is unprintable here) for 7 dollars, man? 7...dollars!"--, or something, but he just totally steals the movie. He can just roll his eyes and I start cracking up. If it had a different actor in the starring role who wasn't as entertaining, I doubt I would have bought a copy. He was definitely robbed of a Best Actor Oscar for this movie--there's a scene near the start of the movie where he is barreling down the street in his crappy car and gets pulled over, that made me laugh so hard I played it back for my husband. Some of the scenes where they are driving down to Mexico are very Hunter S. Thompson-esque. The scene in the confessional where he asks the priest if it would still be okay to take a few hits of a joint once in a while is priceless. If you're a Woods fan, what are you waiting for? Get a copy fast! I can't imagine any other actor in the role, the other acting in the film is great, but he just acts circles around everyone else.

Oh yeah, and the movie itself is great, very emotional. You do care about the characters, even the sleazy ones. The ending also was unpredictable, and there a several scary, very tense scenes. One more thing--watch for John Doe of the punk band X in a small cameo as a restaurant owner-va va va voom!!! Recommended to Woods fans, Stone fans, or simply anyone who enjoys a good political thriller. Not recommended for kids, though.

A early powerful Stone film
Salvador is an early Oliver Stone film, which required overcoming many production hurdles, lying and cheating to complete filming, and committing fraud for additional money (all admitted by Stone in the commentary.)

It was underrated during its brief theatrical release, although James Woods earned and deserved his Best Actor nomination as a press photographer who goes to El Salvador, accompanied by Jim Belushi, to make some money photographing the political mess and killings there, including the murder of nuns and a priest. ("Romero" is a movie about the priest).

Based on "real events" and "real people" like all Stone movies, some license has been taken, also as in all Stone movies.

Political viewpoints aside, the movie pulls no punches in showing the atrocities of war. If you are squeamish about seeing dead bodies, burning bodies and bloody bodies, then you will have to look away on occasion. As in real life, there is some sex and swearing.

The DVD extras, including Stone's commentary, deleted scenes, and cast interviews and clips, are very interesting as well.

Old and Wrong
I know this movie is old, but I have to say it still makes me sick. From someone who was born in El Salvador and watched a parent get shot 50+ times from communist lefties, to watch this total lie of a movie is distrubing. James Wood "still" needs to be ashamed. This fiction has nothing to do with any reality in Central America, today, or yesterday.

Two thumbs up!
Without a doubt, Oliver Stone's masterpiece, 'Salvador,' is a great piece of film-making. Gritty, raw, and unrelentless, it drags you into a grim miasma of savagery and forces you to face a truly shameful chapter in American foreign policy. 1980, El Salvador. While Carter and Reagan slug it out for the keys to the world's largest 'democracy,' the wealthy elite of this Central American paradise realize their days of exploiting the have-nots are slowly eclipsing. With their CIA-trained advisors and Huey gunships, they embark on an all-out terror campaign to eliminate any opposition to their jack-booted oligarchy.

Up in safe El Norte, washed-out photo-journalist Richard Boyle (James Woods) spends his time evading rent, staring at soiled diapers and hungering for renewal, when Salvador comes knocking at his door. With his ravaged Ford Mustang, Boyle persuades his best friend (James Belushi) to accompany him on his grand adventure. Cruising down the verdant spine of Central America, things start to wrong, DESPERATELY WRONG as the tequila-swilling losers cross into El Salvador. Burnt-out cars, charred bodies and straw-hatted thugs block their way. Boyle's easy-living decadence gets a wake-up call. Here, there's no guarantee you have'll a tomorrow, much less a today. Boyle weasels himself out of danger by chumming with the head of the local death squad. Saved. But only momentarily, as Boyle and Co. sink deeper into the murderous quicksand that threatens to swallow them.

With the help of his ex-lover, Boyle begins to find the meaning his life has been lacking of late. In fact, he slowly realizes the need for a 'salvation' of sorts, when he reaffirms a childhood faith upon the urgings of his girlfriend. Yet, Boyle's real salvation comes with his engagement in the bigger picture. Forced to take sides, he first tries to stop the mayhem his own government has sanctioned and then slowly learns that in war, everybody's hands are bloody. Knowing that his film rolls are the only hope for change, he ditches his dreams of Pulitzer-glory and escapes north with lover and children in tow. Almost on the verge of death, Boyle scraps through to the land 'where you can do anything you want,' only to be tragically robbed of that which has redeemed him.

With 'Salvador,' Stone has crafted an intricate political thriller where there are no easy answers. True to his colors, Stone deals his country an extremely shady hand in this film. With the exception of Boyle and his sidekick, the Americans portrayed in this film are nothing short of caricatures. With their coiffed blonde-hair, Don Ho shirts and cardigans, they scream of arrogant imperialism, blinded by fear, 'if Salvador falls, we'll have tanks on Rio Grande!' and by pure greed. Over-the-top no doubt, but not without grounds, lest we forget Allende's Chile. But Stone is no mere polemicist, he DOES show the murky complexity of things, the often-clouded demarcation between good and evil. For example, Uncle Sam-bashing Boyle gets his fanny saved by the very same US ambassador whom he chides earlier on. And while Stone gives a ridiculously idyllic portrait of the marxist guerillas as gentle Tao-spouting Che Guevara's, he avoids outright idolatry by throwing light on their cruelties as well.

'Salvador' will grip you by the senses and won't let you go. Although the sadism and rhetoric are sometimes hard to digest, we are nonetheless saved from total despair by the odd pop-ups of quirky humour, like Boyle at confession...."does this mean I can still smoke a couple of joints?" And above all, its James Wood's performance that carries this film into the GREAT category. Mesmerizing with his high-pitched whine and ADD-like hyperactivity, Woods IS the archetypal Hunter S. Thompson gonzo-journalist! Belushi provides sterling support as his Sancho Panza sidekick always looking for the pain-less way out.

In a way, 'Salvador' IS the modern Don Quixote story. With his lance replaced with a Nikon, Wood's Boyle shows us the noble futility of thinking we alone are enough to save ourselves and others.

Classic Oliver Stone Production...
Just having re-discovered this film on DVD almost 10 years after I saw it for the first time, it was a pleasure to see that after so many years, its quality hasn't degraded in the slightest.

James Woods has cornered the market (as far as character actors go) on SLEAZY dirt merchants, but he's also proven himself capable of going toe to toe with some of the best actors in Hollywood. Simply put, if you want James Woods, you'll have to hire James Woods.

Although the table-side speech by Boyle (Woods) is a bit of a soapboxing moment, the rest of the film is at times hilarious and terrifying to watch. If nothing else, Stone accurately captured the utter turmoil of a nation in the throes of a dictatorship.

As for the extras, the commentary by Stone is quite good, but the documentary portion renders it pointless, for the most part. The deleted scenes make it QUITE clear exactly why they were cut from the finished print, but they could have been re-inserted without causing much damage to the storyline.

One of the best films of all time, never mind the 80s. "Platoon" and "Wall Street" may represent the apex of Oliver Stone's resume, but in my book, this one doesn't suffer one bit in comparison. ... Read more

Amazon.com

Something's wrong in the town of Santa Mira, California. At first, Dr.Miles Bennell (Kevin McCarthy) is unconcerned when the townsfolk accuse their loved ones of acting like emotionless imposters. But soon the evidence is overwhelming--Santa Mira has been invaded by alien "pods" that are capable of replicating humans and taking possession of their identities. It's up to McCarthy to spread the word of warning, battling the alien invasion at the risk of his own life. Considered one of the best science fiction films of the 1950s and '60s, this classic paranoid thriller was widely interpreted as a criticism of the McCarthy era (that's Senator Joseph, not actor Kevin), which was characterized by anticommunist witch-hunts and fear of the dreaded blacklist. Some hailed it as an attack on the oppressive power of government as Big Brother. However viewers interpret it, this original 1956 version of Invaders of the Body Snatchers (based on Jack Finney's serialized novel The Body Snatchers) remains a milestone movie in its genre, directed by Don Siegel with an inventive intensity that continues to pack an entertaining wallop. Look closely and you'll find future director Sam Peckinpah (an uncredited cowriter of this film) making a cameo appearance as a meter reader! The DVD release includes an interview with Kevin McCarthy, and for the first time on home video the film is presented in its original 2.35:1 widescreen aspect ratio. --Jeff Shannon ... Read more

Reviews (65)

Body Snatchers Invade Video Collection
Don Siegel's Invasion of the Body Snatchers proves to be a classic of the science-fiction genre. Usually bored to death of sci-fi films, I quite enjoyed this film of pods taking over and transforming themselves into the citizens of Santa Mira, while they sleep, in the hopes of soon engulfing the entire world. Brilliantly acted by Kevin McCarthy in the role Miles Bennel, and Dana Wynter as Becky Driscoll, with a wonderful supporting cast, the film is easily believable. With Milt Rice in charge of special effects, the entire collaberation is a marvel for its time. Upon returning home from a trip, Miles finds the Santa Mira townspeople to be acting a bit unusual, but little does he know that one by one the townspeople are being taken over by pods from another world. Miles and Becky, Miles' girlfriend, attempt to warn the town and save the others, but it soon proves to be no easy feat for them to save themselves. The two drive, and then literally run, for their lives through the California hills. If they can make it to the highway and then to the neighboring town, perhaps they and the world can be saved. With impressive cinematography by Ellsworth Fredericks, notably the highway scene late in the film, and a striking musical score by Carmen Dragon, this film has quickly become one of my favorites. To occupy a place on the shelves amidst my usual favorites is not an easy thing for a film to do, especially for one that is science-fiction, but this brilliant sci-fi film, which hints a bit at McCarthyism, is a can't miss for any film lover.

They're coming, and you're next!
Wonderful science fiction classic that concentrates on Kevin McCarthy's growing sense of fear and isolation. If anybody doesn't know the plot of this movie, its basic premise is that people are being replaced with alien replicas, with the only clue being a lack of emotion in the new versions. Paranoid people should not watch this film, which has also been classed as a horror film. I think it would have been better in a "Director's Cut" - originally there were no voiceovers, and the film ended with McCarthy standing in the middle of a highway, desperately trying to get someone to stop and listen to him, but the studio decided that was too bleak and demoralizing. Still, this is a great movie, only slightly less shocking for the additions. This version is presented in crisp B&W, in both widescreen and pan and scan. Also included is the original trailer and a short interview with McCarthy on some local TV show from the Seventies. I give the movie itself 5 stars, as it is one of the true classics (better than the 1978 version, and FAR better than the 1997 version), but the DVD gets 4 for its rather bland presentation.

It's alright but I probably missed the political point
Having been born well after the McCarthy era the political sub-text was lost on me. I just thought it was another one of those 50s sci-fi b movies made. Of course I had vague ideas of America at the time and how they were run but I didn't exactly join the dots together and link them up. What I saw was a sci-fi b-movie - nothing else. Still it wasn't bad

I got this really cheap in a store ( 5 euros ) and basically what I got looked like I bought a copy of some guy's video. I'm not complaining about it considering 5 euros for a DVD is alright and besides - it was nothing major. It was in colour and it started off bizarrely. Bizarre in the sense at how the music was so strange and how for the first 15 minutes of the film it was all just people falling down a hole somewhere out in the fields. Seems fairly stupid so far but I do admit that it was quite frightening when the dad lashed out at his son. The realism in that shot was something I hadn't seen before.

Basically you can get the story now about what's about to happen and I won't want to say anymore in case I might ruin the film for you ( nobody likes that do they ). But I will say that I found the Martians and their underground lair to be rather pathetic. OK just the lair then. When the men in green suits start undertaking their tasks it's pretty funny to see white balloons just sway a little as if a little gentle breeze had passed. And the amount of times you had to hear " Let me go let go let me go " it really begins to get on your nerves.

Historically you could say that this is a good film if you know your history. If you just want a bit of an enjoyable sci-fi movie then this can also be achieved. Either way you get enjoyment out of it.

Keep awake, keep awake!!!!.
This is a remarkable movie in many ways. With a relatively small budget a very interesting Sci-Fi / horror film is made. No big visual effects, no Big Stars in the cast, black n' white photography and still a griping story. There are two remakes of this story, they can't stand against the original one, even if they were produced with a bigger budget and known actors.

This is the plot: Dr. Bennell (Kevin McCarthy) returns to his small home town ready to attend patients. Different consultants tell him of a paranoid syndrome: their relatives seem somehow changed. A couple of days after that, they return to his office and tell him "Everything is OK".
Dr. Bennell and her old times girl friend Becky Driscoll (Dana Wynter) soon realize the town is being subject to an alien invasion plot. Huge seed are "planted" in basements or garages and evolved in a duplicate of a person (a clone will be called today). As soon as the victim fells asleep is "transformed". The tension grows up as time pass and the characters need to sleep.

Some comments issued around the film pointed out that it may be taken as a parable of the Cold War raging at the time it was released (1956). I think that there are more films of that period, alluding the frightful issue of "They are like us but they are NOT us and they are dangerous", as in "The Thing from another World" (1951) or "I Married a Monster from Outer Space" (1958).

The actress Carolyn Jones (later best known by her impersonation of Morticia at the "Addams Family" TV serial) play a short, but very well enacted, role
A very enjoyable film to be seen.
Duration: 80 minutes

GREAT
This is a GREAT transfer of the original film! The sound is good, the picture is good, it's simply a grand dvd! The film here has good acting and casting. Good story and good ending. What more could a sci fi junkie need? This film was made countless times after but this is the original and the best.Kevin did great as the main character here. ... Read more

Description

At last, Martin Scorsese's most personal masterpiece can be seen outside of the controversy it engendered, and be seen for what it is: a l5-year labor of love. Nikos Kazantzakis' landmark novel comes to breathtaking life in this moving and spiritual film. The all-star cast includes Harvey Keitel, Barbara Hershey, Harry Dean Stanton, David Bowie, and Willem Dafoe as Jesus. Criterion is proud to present this cinematic treasure in an exclusive Director Approved special edition. ... Read more

Reviews (205)

Not really as much offensive as bad
Within the first five minutes of watching this film I realized that I would have a difficult time dialoguing with this movie about the person of Jesus. This is not because it shocked me, or was in any way frustrating, rather I realized that this movie was not even about Jesus. In an almost Arthurian way, the main cast of characters, some essential framework of events, and a taste of an approximate locale were reformed into a story all its own, not even meaning to point us to a further understanding of Jesus the man. Rather, as the introduction states, this is a movie, not about Jesus, but about the author, and about those in history who have struggled incessantly with their inner spirit. I feel I gained some insight into the mind of Nikos Kazantzakis, possibly Martin Scorcese, and maybe most of all the Messianic pretenders who abounded during the 2nd Temple Period and have arisen now and again even to our day (i.e. David Koresh), but not necessarily about Jesus.
The Last Temptation of Christ is a movie about struggle, namely the internal struggle of trying to balance our spiritual selves with our physical selves, the "incessant, merciless battle between the spirit and the flesh." From the very beginning there is conflict, both external in the Palestine of the Roman era, and internal in the person of Jesus of Nazareth. This dual struggle is thrown at us in the first scene when we see Jesus the carpenter making crosses for the crucifixion of fellow Jews. Jesus is clearly a man overwhelmed by this conflict. He is driven by fear, fear of the Romans and fear of what he feels God is doing inside of him. This conflict drives a wedge between him and those around him, driving him to seek consolation and answers away from his home and in the wilderness.
It has been said that the various 'lives' of Jesus written or filmed over the last couple of hundred years have tended to tell us more about the author or director than about the actual person of Jesus. Even outside of Christianity, Jesus has resonated in a powerful way in the hearts and minds of those who encounter him. The difficulty arises in that we do not know what to do with him He is a personality which we do not have models of understanding with which to compare, and who we find familiar, but not very much like ourselves. In response to this, some have sought understanding by remaking Jesus in their own image, giving him the inner struggles, temptations, and other oddities which they themselves are dealing with, and in doing so possibly hope to universalize this man which we can almost, but not quite, understand.
One of the most interesting questions that does arise in this movie concerns the self-awareness of Jesus. The Jesus of the movie is at first visibly unable to cope with life. His inner struggle has reached a breaking point and drives him to further knowledge and understanding. It is during his quest that he discovers who he is, God and Messiah, and with this newfound knowledge seeks to engage the world, though not quite sure of the best method for doing so. It is the common struggle of trying to understand how God is leading in life, and dealing with the sacrifices that this sometimes entails. Although the answer the movie provides seems more representative of the story of Joan of Arc more than Jesus, this is an interesting question, and essentially one which we are not privy to the real answer of when Jesus became aware (if he was not always aware) of his divinity. In the movie this struggle is represented as being analogous to our own battle to understand our duel nature. Yet I do feel that the inner life of Jesus was in fact vitally different than our own. From my reading of the Jesus narratives what is striking is not his inner struggle, but rather his inner unity. Rather than being an archetype for the struggle we all deal with, Jesus is a model of what a person is like when their physical and spiritual selves are truly united. Scorcese tries to show us a man who is truly human, but rather misses the mark and shows us one more example of what it is to be less than human.
Seemingly, one of the goals of the movie was to seek to portray Jesus as a man, emphasizing the universal qualities of his humanity. In this it failed. The Jesus of the movie was not a real person, in a real era, speaking real words. He was an example of what some people feel a religious person should be, and in this way was very reminiscent of the Infancy Gospels, and other apocryphal tales of the life of Jesus which have been produced since his days on earth. Indeed, the movie showed a real lack of true engagement with who Jesus was and is.
Once one moves behind the elements which were intentionally meant to be shocking and controversial, one realizes how vacuous the story and characters were. This was in fact just a plain bad movie, that should have been dismissed not protested. The Jesus of the movie was not God, nor was he even really human, but rather a grotesque attempt at both. It followed the trend of seeking to bring a hero down to our level rather than portraying the truly heroic. My thought to the end was that this was a Jesus who needed to get to know the true Jesus, and hear the full Gospel message. He was a character that evoked pity rather than the awe and reverence which would characterize a leader who had the effect on the world that Jesus did in fact have. The Jesus of the Gospels was a man to whom we aspire to be like, a man who could have truly led a conquest of the Roman Empire had that been a goal. He was a leader par excellence, whose glory was in that he did not yield to who humanity wanted him to be, but rather called humanity to where he knew they needed to be. The Last Temptation of Christ is an example of what happens when someone just plain misses the point, not only about Christ, but also about himself and all humanity.

A brilliant human speculation.
First of all, if this movie were considered an historical account, it would be heretical. Yet, as Scorcese has plainly stated, this movie only speculates as to what the human life of Jesus was like. What personal price did he pay for his ministry? Did he feel romantic love? How did he deal with being in the middle of a spiritual war between good and evil? How did he deal with the prospect of his own grisly death?

Well, Scorcese powerfully brought to life the questions we have asked for 2000 years. But he never places into question the Divinity of Christ, and Scorcese's Jesus falters but never leaves the path. Sure, seeing Jesus depicted as a Roman flunky and fantasizing about Magdelene and women disturbed and even repulsed me. But Jesus' conquest over fear and temptation in the desert, his healing of the sick, his crucifixion, and his strength at his last moment all uplifted me.

As always, Scorcese's direction is impeccable and his sets are beautiful. The violence in the movie is unflinching. Willem Dafoe is outstanding as Jesus, and I think David Bowie portrays Pilate as he was: a Roman despot indifferent to crucifying Jewish people.

I didn't sleep for 2 nights after I saw the movie the first time. But I enjoy it greatly now....

Could have been wore
The first time I say this movie, it was on TV. It was on at like midnight, so I had to stay up very late to finnish it. It is important to remember that this film is an Artistic Representation. It is not meant to be take factually. I does indeed appear blasphamous if you are taking it in a historical context. So, don't take it that way. I admit, the whole poligamy/adultery thing was WAY TOO MUCH for me. The movie is quite laughable actually. Especially if you are a Christian and can put things in proper context. It does present a more human Jesus, but if that is what you want to see, I would highly recommend Jesus Christ Superstar. It is much better, and more entertaining. I felt that this movie somewhat dragged on and on. That could be because I was SO Tired. I can see why they put it on so late at night though. You need to see this movie at least once, just to say that you have seen it.

one of the worst movies ever...
Forget about the controversy surrounding this film. Yes, from a historical and Biblical perspective, it's trash. However, the real tragedy is the film itself. It is just outright boring and the acting is atroucious. I expected more from the a-list actors invovled in this project. Especially Dafoe. What was he thinking?! The only redeeming value of this film is the soundtrack (Peter Gabriel's "Passion"). Peter Gabriel has created one of the most beautiful and provocative music scapes ever recorded for a film.

Do yourself a favor if you've never seen this film... don't waste your time. Instead, just by Peter Gabriel's soundtrack.

Horrible depiction of Christ, but artistically fascinating
I am a proud believer of the Bible and since I've seen most of this film, I think I have a say in this like everyone else. This film horribly depicts Jesus as a very human Savior instead of the Son of God. People say it's interesting that this film shows him helping out during a crucifixion, but remember this is the Son of God and he would be trying 2 save the person on the cross instead of helping to kill him. The scene where he rips his own heart out is disturbing and the blasphemy is really shown once he has sex with Mary Magdalene, something that Christ would've never done.

Now don't get me wrong, I was fascinated with the direction. There's no question that Scorcese is a great director and scenes are shot beautifully in this film.

But sadly, the film is overtaken by its horrible account of Jesus' life. 'The Passion' was a more accurate and basically a better and more powerful film. ... Read more

Reviews (36)

"If You Believe in Fairies...Clap Your Hands!"
I saw "Fairy Tale - A True Story", when it had it's theatrical release and I was utterly charmed and moved by this wonderful movie. I am so glad that it has finally been released to the DVD format.The story is based upon the true life events surrounding the famous and sensational 'Cottingly fairies photographs'.The film takes place during the dark days of WWI Britain. A young Elsie Wright (Florence Hoath) is sent off to live with relatives, because her father is 'missing in action'.Elsie becomes fast friends with her twelve year old, cousin, Frances (Elizebeth Earl) both of whom seem to have a playful fascination with the subject of fairies. One day the girls borrow an old camera and go off to a local brook to take pictures. When the photographs are later developed, they show images of what seem to be real, live fairies!Through a series of events the photographs fall into the famous hands of Sherlock Holmes Writer, Sir Author Conan Doyle (Pete O'Toole) and Magician & Escape Artist, Harry Houdini (Harvey Keitel). Doyle publishes the photographs in a national magazine and causes a sensation throughout the country.Are the pictures real or did these two young girls pull off the hoax of the century? The movie puts it's own twist on the facts and attempts to come up with some very interesting answers.Director, Charles Sturridge and Screen Writer, Ernie Contreras have created a magical and moving film about the subject of faith. Sometimes if you believe in something hard enough, maby it can come true. This is found throughout the film. It applies to everything from the belief in the unseen (such as fairies, spirits of love ones), the return of a father, or even the faith needed to win a brutal war.The acting in this movie is splendid.I especially like the casting of the two girls (Florence Hoath & Elizebeth Earl). Even in the unusual situations, that occur, they both act like normal, everyday, children. Not a false note in their performances.The film's special effects are also great. They are well done and realistic (flying miniature fairies), yet do not overwhelm the story.This is greatly aided by cinematographer , Michael Coulter's beautiful photography, which highlights both the colors found in nature (the woods and brook) and the light and darkness of urban, Victorian England. All these elements come together to make a wonderful fantasy film, which I highly recommend!

"Fairytale:A True Story" absolutely wonderful-A MUST SEE!
For young and old alike,this delightful film has it all! Based on the true story of two young girls who claim to have seen fairies in England during WW1,"Fairytale:A True Story" features superb acting throughout,especially Elizabeth Earl and Florence Hoath as Francis Griffiths and Elsie Wright, whose fairy sightings stir up quite a bit of controversy throughout wartime England. Among the people caught up in the excitement are Sir Arthur Conan Doyle,brilliantly portrayed by Peter O"Toole and Harry Houdini,featuring Harvey Keitel in one of his finest performances. Paul McGann and Phobe Nicols are also wonderful as Elsie's parents. I really can't say enough about this film. Brilliantly cast and beautifully photographed,it is enchanting entertainment from beginning to end. The film score is even well worth the price if you can still find the CD! This film is not your average children's movie and I have read alot of reviews that ask weather this film was aimed at children or adults.This could very well be why it was not more of a commercial success.A pity, because I believe this film offers something for all ages.I also regret that I have not seen Florence Hoath in many other roles,save for "The Governess" and I haven't seen Elizabeth Earl at all-they deserve more recognition!

Don't Let This One Pass By
This amazing film is about two little girls who, with no photographic experience, take photos of Fairies. Kodak examines the photos and says they are untouched, but refuses to acknowledge the existance if these little sprites. In come two of my personal heroes, Sherlock Holmes, because he believes the girls, and Harry Houdini, because he dosn't believe them.
But, reguardless, if you believe, you will be facinated. If you do not believe, you might, just for a moment, question that belief.
Either way, do NOT miss this film!

HORRIBLE
if youre getting this movie for your kid, or any kid, save them the misery. i remember seeing this movie the day it came out, and it was so awful i fell asleep, along with about 5 other kids in the theater. it was by far the WORST movie i have ever seen in my entire life, even worse than that planet of the apes movie. and trust me, i have seen almost every movie that comes out. spare your kids the pain and spare yourself some money. DONT get this movie for them.

Charming little movie
This movie is a gentle story, one that the whole family can watch. Doesn't have much in the way of action, vulgarity or even scimpily dressed faires. The fairies are not a huge part of this story anyway. The story is about two young cousins who concoct a tale about some fairy sightings. This "true" story happened during WWI in England. The story also shows what happens to a small country town when they receive some unwanted publicity after the girls' photos are anonymously published in a leading magazine. It is an interesting tale, charming and cute. People who like trashy, faster movies won't like this one. ... Read more

Reviews (48)

Kate Beckinsale shines in this delightful comedy
Cold Comfort Farm is a wonderful mixture of offbeat characters and strange situations that make for some of the grandest comedy on screen in some time. If you think you won't like it because it's an English period comedy abandon that notion and dive in. This movie is one you will enjoy. The actors are perfect for bringing this off and it is a pleasure just to watch them tangle with this material. Ian McKellen and Rufus Sewell are particularly quirky as is Maria Miles as Elphine, but Sheila Burrel as Aunt Ada gets the best line: "I saw something nasty in the woodshed!" But the key character is Flora, played to perfection by the delectable Kate Beckinsale. It is Flora's good sense and practicality that master the situation and win the day. She sets the world right with her refusal to allow it to be otherwise. This mix of wacky characters needs the grounding of Flora to allow us a point of view and Kate Beckinsale establishes that perfectly. Ms. Beckinsale has done the kind of exceptional work here that we've come to expect from her. Get this video and get ready to laugh long and hard.

Quirky British humor, Emma meets hillbillies...
I watched this movie on the recommendation of a couple of frequent movie viewers. This film was fun to watch on a rainy Sunday morning. It was not profound, and while most of the characters have a happy resolution of their problems, the film will not appeal to all. If you are a Jane Austen fan and love Emma in particular, the film will appeal to you for three reasons - firstly, the heroine Flora Poste slings off Jane Austen quotes and references (beginning with her intention to write her "Persuasion" when she is 53); secondly, because Flora acts much like Emma in trying to improve and manage the lives of others (without being blind to her own true love); and lastly, because the heroine Flora is played by Kate Beckinsale (who will go to to play Emma in the Andrew Davis/A&E version, called Emma 3). There are also a number of other stellar actors, most notably Sir Ian McKellen (playing a hell-raising preacher) and Eileen Atkins (playing his sad-sack cousin/wife).

I have not read the book nor seen the 1971 version, and therefore can judge the film only by its own merits. While the film left me with a smile on my face, it also left me a little puzzled. What was Judith Starkadder's real problem, why does she feel the family owes something to Robert Poste's child, and what did Aunt Ada Doom see in the woodshed?

A brief plot summary: London society girl Flora Poste discovers that she has only 100 pounds a year, which will not keep her in stockings. She decides to write to her many relatives to see if one of them will take her in (this is the 1930s, I believe). Flora decides to go to the most interesting set of relatives - the Starkadder cousins on Cold Comfort Farm. The family are portrayed as hillbillies in the worst sense, completely wedded to tradition, dirty and ignorant, unwilling to reform (such as using a dishmop instead of twigs). [Warning: this depiction of British farmers of the 1930s may be offensive to some].
Flora arrives at Cold Comfort Farm to discover that the farm and the family are apparently cursed. The family seems to feel that it owes something to her as Robert Poste's child (this is never explained in the film) but her cousins deeply resent her. The cousins are Amos and Judith Starkadder (cousins who married), their sons Reuben and Seth (the latter a lusty young man who loves the talkies), and several others. Gradually, Flora changes the way in which her Starkadder cousins live (by cleaning up the house, beginning with her bedroom curtains), persuades nearly each member of the family to make some critical changes, and also brings about three marriages in the future. All this, while also dangling along a London-based "embryo parson" with his own airplane and a locally-based "writer" who fancies himself in love with her.

Quick summary: The film was entertaining as long as it is not taken seriously. There was an element of snobbery in the relations between the city people and the country people that I did not quite like (even if it is true of this period and of today). The depiction of the gulf between the "county" families and the farmers is hinted at, but made light of. However, there is enough interest sustained in the movie, aided with strong acting from Kate Beckinsale (Flora Poste), Sir Ian McKellan (Amos Starkadder), Eileen Atkins (Judith Starkadder), and Rufus Sewell (Seth Starkadder) that carries the viewer along. Recommended for lovers of Jane Austen, or for lovers of eccentric British films. Some crudity but not as much as in WITHNAIL AND I or the BLACKADDER series.

Farm house with a view....
Kate Beckensale might be best remembered for her role in PEARL HARBOR, but I first became aware of her in EMMA. I am very happy to see that CCF has finally been 'uncoupled' from the porm film one used to find for sale with it. I have been replacing my lazer disks one by one as films become available on DVD and had waited for a long while for this DVD.

The film is a gem. Joanna Lumley makes a rather brief appearance although she is pictured on the DVD cover. I suppose Universal Studios thought we Americans might recognize Lumley before Eileen Atkins, who also plays in this film although she was recently seen in COLD MOUNTAIN as the 'old goat woman' or Ian McKellen who played Gandalf in the Ring triogy, or Stephen Fry who played Jeeves in the JEEVES AND WOSTER series.

CCF is funny and sentimental in a British sort of manner. Who else but the British could envision the salvation of one of their own farm oafs as an offer from Hollywood to play in what undoubtedly will be romantic film productions. (Hey, we aren't all boobs who shoot from the lip!!). And, Joanna Lumley is superb as a slightly weird single girl who spends her down time fondling mannequins.

In spite of the tongue and cheek sexual innuendo, I think this film is suitable for family watching. The sly sexy humor is probably over the heads of most American kids. But what do I know, I don't watch American tv, I watch BBC America.

An affectionate, funny film
I saw this film soon after its 1995 release and thought it wonderful, all the more so because Kate Beckinsale's interpretation of Flora Poste reminded me very much of my oldest daughter. So I was pleased to see that it has finally come out on DVD; I bought a copy, watched it again, and still think it wonderful.

You should be warned that you may have a hard time understanding what some of the inhabitants of Cold Comfort Farm are saying. However, that's intentional and straight from the novel, where the accents and strange word usages often leave Flora puzzled. Here's an exchange (from the novel) that I believe is reproduced pretty much verbatim in the movie, when Reuben comes in after working out in the fields not long after Flora has started living at Cold Comfort Farm:

========
...After another minute Reuben brought forth the following sentence:

'I ha' scranleted two hundred furrows come five o'clock down i' the bute.'

It was a difficult remark, Flora felt, to which to reply. Was it a complaint? If so, one might say, 'My dear, how too sickening for you!' But then, it might be a boast, in which case the correct reply would be, 'Attaboy!' or more simply, 'Come, that's capital.' Weakly she fell back on the comparativel safe remark:

'Did you?' in a bright interested voice.
========

Speaking of which, the original novel (written in 1932 by Stella Gibbons) is just as wonderful, and the film is a remarkably faithful adaptation, if (understandably) a bit trimmed and modified. I read the book for the first time after watching the DVD release of the movie and was delighted to see that most of the dialog comes straight from the book, including my favorite line (the interchange between Neck, the movie producer, and Aunt Ada), if a bit punched up.

Finally, for the reviewers who are frustrated that we never find out what Ada saw in the woodshed, what wrongs were done to Robert Poste by Amos Starkadder, and what Flora Poste's rights were...well, the novel leaves us pretty much in the dark as well. In the book, Aunt Ada _does_ answer the second question for Flora--though we as readers don't get to hear the answer--and Ada is interrupted before she can answer Flora's intriguing follow up question, "And did the goat die?"

The movie and the book are both delightful; enjoy. ..bruce..

"While I'm here, might I make a few changes?"
Cold Comfort Farm is a jolly film that bounces along as merrily as its theme tune. It's a rollicking good comedy with a laugh-out-loud collection of Dickensian characters (the doom-stricken Starkadders, the rustic Adam Lambsbreath, and the upper crust Hawk-Monitors). Certainly the film is very over-the-top and silly, but it's light-hearted fun - a welcome alternative to the glut of psychological, heart-wrenching, blood-and-guts fare on the market.

The Starkadders live on the bleak acres of Cold Comfort Farm, where "the cows are barren and the sows are farren". Into this gloomy and eccentric setting comes young, 1930s-modern Flora Poste, who sets to winning the hearts and minds of Cold Comfort's inhabitants, and dragging the Starkadders into the twentieth century. Along the way she manages to rearrange and enliven her own life too.

Kate Beckinsale (prior to her arrival on the scene of big-budget American flicks) is a likeable and chirpy young lady with a talent for organisation. In the supporting roles, Joanna Lumley is delightfully sarcastic as Flora's incongruously named aunt, Mary Smiling, who has a rather unusual hobby. And Ian McKellen is a real scene-stealer as the fire-and-brimstone preacher of the Church of the Quivering Brethren.

The plot revolves around Great Aunt Ada Doom and the 'narsty' thing she saw in the woodshed nigh on 70 years ago. There is also the mysterious wrong perpetrated on Flora's father by the Starkadders sometime in the dim and misty past. So it is a tad frustrating that the audience is never let in on either of these secrets! But these are minor quibbles in what is otherwise an excellent comedic romp, with some interesting and atmospheric cinematography. A very good (and very British) laugh. ... Read more

Description

Marvelous mustachioed Hercule Poirot stamps out evil with savoir faire to spare in this British television production that became a hit on both the PBS Mystery! series and A&E. Based on the fiction of Agatha Christie and starring David Suchet as the definitive Poirot, the series features great ensemble acting, witty scripts, and gorgeous period sets and costumes. The dapper, diminutive Poirot and his lanky assistant Captain Hastings (Hugh Fraser) sort out cases in and around 1930s London.

Dead Man's Mirror—At a fine furniture auction, Poirot loses in the bidding for an art deco mirror but wins a new client willing to part with the mirror for Poirot’s services.
Jewel Robbery at the Grand Metropolitan—Poirot tries to take a holiday but is soon required to save the day when a priceless necklace disappears.
The Adventure of the Clapham Cook—Finding a missing cook proves tougher, and more suited to his superior skills, than Poirot expects.

DVD SPECIAL FEATURES INCLUDE biographies of Agatha Christie and David Suchet, cast filmographies, and Agatha Christie materials. ... Read more

Reviews (1)

3 strong entries in the almost complete POIROT series
Having sung the praises of Sets 1-8 of the Acorn Media releases of , I can find little to add about the general excellence of this series, which offers up the shorter episodes on VHS and the longer ones on VHS and DVD formats. With 3 of the projected 12 sets to go for the shorter entries, Set 9 offers up a trio of fairly strong tales.

"Dead Man's Mirror" concerns a ruthless millionaire who outbids Poirot on a mirror at an auction and then dangles the item as bait for the detective to investigate a case of fraud. There is much ado about inheritances, a second (unsigned) will, possible murderers, dinner gongs, and shots behind locked doors. And if the ending is far fetched, who cares? This one needs total concentration.

"Jewel Robbery at the Grand Metropolitan" is lighthearted and contains a wonderful spoof on the mystery plays popular in Christie's own time. You will enjoy not only the usual good characterizations by the supporting cast but also the very imaginative camera shots inside a chest of drawers.

"The Case of the Clapham Cook" hangs on a hoax that is a bit overly complicated, since the perpetrator could have accomplished his aims in a far less roundabout way; but then there would have been no plot. The use of disguises, fine in the original stories, often does not work on video, because it is too easy to spot the face behind the beard.

All in all, superior viewing for an evening. ... Read more

Amazon.com

Definitely a contender for the underwhelming title of Best Elvis Movie, this handsomely shot Western actually makes Elvis act, rather than coast on his personality. (As though to underscore the point, the two obligatory songs are dispensed with under the opening credits and in the first scene.) Don Siegel was probably the best director the King ever worked with, and he draws a quietly smoldering performance from Elvis, who was still undeniably raw. Even better, Siegel captures an existential starkness to homestead and town, and calmly makes a pro-Native American case without preaching (Elvis plays a half-breed caught between sides in an Indian vs. settlers dustup). Yes, this was 30 years before Dances with Wolves--there were actually quite a few such movies during this era. All in all, a decent picture, and an indication of where Elvis's career might have gone if he hadn't given himself over to fluff. --Robert Horton ... Read more

Reviews (19)

this is Elvis Presley at his best and with the best
i've seen all Elvis's movies, but Flaming Star is the one film whereby his talent as an actor in a dramatic role comes forth highly convincing on the screen. John McIntyre and Delores Del Rio; superbly cast as parents of two brothers who through racial conflict pull apart, then rejoin to save the life of the other. A classic western with Steve Forrest at his best and Barbara Eden in a role you can't easily forget. Too many great actors to mention here. This movie, which I do hope will be on DVD, is not shown enough on t.v. movie networks and i believe has never received the recognition it so deserves. Elvis should have won an academy award for his portrayal as Pacer. to me, there is no other Elvis movie but Flaming Star. Get your hankies out girls; toward the end of the film, when Pacer (Elvis) rides into the hills in search of the "Flaming Star".

How much violence does it take to screw up a movie?
Parents: this film was rated from the parental rating: Objectionable for children.

Elvis Presley stars in this almost gory film. Which takes Elvis into Western movies.

Elvis Preseley plays an indian in Flaming Star. His character name is Pacer Burton.

His mother (Dolores Del Rio) is killed by a white man (Douglas Dick).

And leaves home. This is not one of Elvis best movies. I am a big Elvis Presley fan.

I have seen a lot of better movies that Elvis Presley was in. Like Jailhouse Rock. He tries to prove that he can do a lot more than singing.

And in a lot of movies, he sings. But I don't see how any Elvis Presley fan whould enjoy this movie.

I'm giving this movie 2 stars for one reason. A. He doesn't sing very much in this movie. There are two songs in this movie (and none are sung after the first 10 minutes).

He ties his brother (Steve Forrest) to a horse and joins other indians.

This movie was oringally written for Marlon Brando. And dropped out of the movie and Elvis takes his place.

I might have given this movie more than two stars if more songs was added. If Elvis wasn't suppose to sing in this movie the songs should have been cut.

this is Elvis Presley at his best and with the best
i've seen all Elvis's movies, but Flaming Star is the one film whereby his talent as an actor in a dramatic role comes forth highly convincing on the screen. John McIntyre and Delores Del Rio; superbly cast as parents of two brothers who through racial conflict pull apart, then rejoin to save the life of the other. A classic western with Steve Forrest at his best and Barbara Eden in a role you can't easily forget. Too many great actors to mention here. This movie, which I do hope will be on DVD, is not shown enough on t.v. movie networks and i believe has never received the recognition it so deserves. Elvis should have won an academy award for his portrayal as Pacer. to me, there is no other Elvis movie but Flaming Star. Get your hankies out girls; toward the end of the film, when Pacer (Elvis) rides into the hills in search of the "Flaming Star".

A Good Movie
Barbara Eden is Great in the movie playing Steve Forrest's character's girlfriend.Elvis sings the theme song and in the square dance scene he sings a song though he doesn't sing any other songs after that.The movie is a western drama and a good movie.Dolores Del Rio is in the movie also.Directed by one of the best directors Don Seigel who directed Clint Eastwood.The DVD has the original movie commercial.

A billion, trillion stars!
For the star to end all stars, Elvis, this movie is greatness among a movie career that's, well, not so great. Finally on DVD, with beautiful picture quality, I adore this movie. There is no cheese here.
This is not chock full of songs, this is not a musical, and the few musical numbers here are well-done and in context. You don't get a cheesy 1960's sounding song in this 19th century western, the songs actually sound like they belong. Again I must stress, there are only a few songs and they don't take anything away from, rather they add TO the film. That man could sing, but surprise surprise, he could also act.
He is a halfbreed. Part white, part Native American. Constantly he is torn between loyalties, but moreso from this deep desire to remain fair to all in his life. The scenes of tenderness are of the utmost affection, and the scenes of violence express the real anguish of such a life. I'm not exaggerating when I say that sometimes when I watch this movie I feel as if I'm spying on a 19th century scene, it's that convincing, friends.
There is such a magical quality about this movie. It's so different from anything Elvis had done before or since that it almost seems like he would have done the film for free...he loves what he's doing and puts his soul into it.
Note that Col. Parker scoffed at the idea of "his boy" Elvis doing a "political" film like this. The Colonel was not one who liked to stir the pot too much when he felt the mixture was just right. This is one of few occasions where Elvis went ahead and did what he thought was the right project. If anyone is curious, check into the numerous films that were offered to Elvis and refused by the Colonel. Least of which was the now legendary 1968 'Comeback' Special in which Elvis both re-invents and re-establishes his throne as the King of Rock and Roll. The Colonel wanted the 1968 special to be a cheesy xmas show with Elvis in a tuxedo singing to snowmen and Santa (which would have probably been the colonel in a red suit). What a disaster and a loss that would have been.
Anyway - Elvis shines like the bright star he is in Flaming Star. Absolutely terrific, wonderful movie that I can't say enough good things about. I have not one complaint except that there weren't more cast from this dye. ... Read more

Amazon.com essential video

Part concert documentary, part pop-cultural time capsule, Bert Stern's Jazz on a Summer's Day chronicles the 1958 Newport Jazz Festival with an approach as deceptively relaxed, even impulsive, as the music itself. Still photographer Stern sidesteps more formal documentary conventions such as narrative voiceovers to wander purposefully from festival stage to boarding-house jam sessions, taking in the parallel color and motion of the America's Cup preparations when he isn't capturing rich color footage of the performances and the celebratory mood of the concertgoers. In the process, he documents American jazz at a notably golden moment in its development--diverse, adventurous, and still broadly popular, this was jazz not yet under the shadow of rock and youth culture, played by an integrated artistic community a few short years away from social and political turmoil that would boil divisively to the surface during the '60s. To say Stern was rolling film in a jazz Camelot is overstatement, but only slightly so.

Stern's circular approach and wonderful eye achieve a breezy languor at the expense of more comprehensive coverage of the festival's bumper crop of strong jazz, blues, and gospel musicians. Perhaps inevitably, the camera lingers on Louis Armstrong, Anita O'Day, Mahalia Jackson, Dinah Washington, Thelonious Monk, Gerry Mulligan, and George Shearing. Avid fans of later styles may be frustrated by the fleeting glimpses of other musicians such as Eric Dolphy and Art Farmer, or the honor roll of classic jazz stylists whose Newport sets weren't included in the film, but such omissions seem forgivable, if not necessary, to Stern's serendipitous design. --Sam Sutherland ... Read more

Reviews (25)

This isnt a "Concert Film", it is a time Capsule
A great Film, my only dissapointment was the ommision of theDuke Ellington set, closing the actual event. This is an art film, thecinemaphotography is outstanding. The use of shape and light is masterful. Musical Highlights that ARE included in my opinion, are Anita O'Day, Louis Armstrong, Mahalia Jackson, and Monk.

If you are a (open minded!) jazz fan, and a art genre fan this is the film you have been waiting for!

DVD Info: Excellent color and sharpness. Audio is in Dolby Digital Mono. Crisp clear tone. Extras include a complete playlist for all three days of the festival. An interview with Bert Stern (both text and audio) with accompanying documentary imagery relating to Mr. Stern's other works mentioned in interview. Much insightful discussion about the planning, filming and post production of the film. Very fascinating and well worth the price.

Now, it may be me, but it seems that i noticed some brief segments of footage in the DVD release that i never noticed on my VHS copy. But im not running the VHS again to check, this DVD is so much better!

Phenomenal Work of Art
Contrary to some comments on this list, this film is not a documentary or concert film. It is a visionary work of art. It's like Robert Franks' book THE AMERICANS coming to life. If you don't know what that is about, see for yourself. This is the America that Kerouac loved. And if you don't know what that means, find out before it's too late.

This film is really about a summers day in America in 1958. As a musician, a Jazz lover, a poet and a film buff, this film is the best of all worlds. It is pure poetry. It is like seeing the world through Kerouac's heart-filled eyes. Eyes we all have, but forget in our daily malaise. Notice the minute particulars, the spontaneous nature of life. Speaking of Beats, if you look real close you can see Gregory Corso in a couple of audience shots.

Jazz on a Summers day is about time and place. It freezes a moment in time and makes it eternal. A time when jazz was common music of american culture. A summers day when people living in the cold war and the Eisenhower era kick off their shoes and truly live. It is filled with moments of deep sighs, AH. Like, the shot of the young girl singing along with Satchmo, if that's not art I don't know what is. The performers too, Mahalia Jackson is a great bodhisattva/angel. The cinematography is vibrant. You've never seen the fifties this real.

I actually love the parts that digress from the festival. Even though