Reviews (240)

The Lost World
This sequel to the 1993 blockbuster is good as sequels go but isn't a great movie. Jeff Goldblum gives a good performance as Dr. Ian Malcolm and Julianne Moore contributes too. The screenplay based on the novel by Michael Crichton is poorly done but has a few funny lines. The cinematography is good and captures the horror very well, and the production design is very frightening. The soundwork is very good, but the editing by veteran Michael Kahn (Close Encounters, Raiders of the Lost Ark, E.T.) is not very well done, you can hardly digest what is happening. John Williams contributes a rousing yet ominous score. One thing that keeps this movie moving are the incredible Oscar nominated special effects done masterfully by the great Dennis Muren and Stan Winston. The basic plot is that John Hammond, the creator of Jurassic Park, has an island where dinosaurs roam freely but must send Malcolm along with his girlfriend and two other companions to photograph the dinosaurs so Ingen will be kept from disturbing the dinosaurs. Overall, fairly well done, suspenseful, but fails to capture the awe, greatness, and wonder that the original possessed. There is also a Jurassic Park 3 coming out. I can't wait.

Dinosaurs Galore
Recently I was able to catch Spielberg's The Lost World. I say Spielberg because other than the title it bears no resemblance to the book. This is not necessarily a bad thing. While a lousy interpretation of the book it is still a good film.

Jeff Goldblum is hired (by a man who is dead in the book) to study the ecosystems on InGen's Site B where dinosaurs have been flourishing. Only the fact that his girlfriend is in danger gets Goldblum to go. No sooner does he arrive and try and convince her to leave than a massive InGen expedition shows up to hunt and capture dinosaurs.

InGen's plans for capturing dinosaurs goes awry when Goldblum and friends release the dinosaurs during a satellite-linked board meeting. InGen plans to open a dinosaur park facility at the San Diego zoo. During the chaos every radio in the camp manages to get trampled. The survivors must now find a way off of the island. Unfortunately most of them are killed in a brief attack by velociraptors while in tall grass.

The few survivors of the second expedition manage to capture a T-Rex and ready it for shipping to the states. Goldblum and friends escape by helicopter.

In San Diego the T-Rex manages to escape and go rampaging through the city. Goldblum must lure the T-Rex back onto the freighter that brought it to the States. In the end a huge navy escort follows the freighter back to the island while Mr. Hammond implores to public to leave the dinosaurs alone; they deserve it.

Some people definitely had fun making this movie. There were scenes from classic and not-so-classic movies including King Kong, Godzilla, Carnosaur 3 (CARNOSAUR was the book Crichton got the idea for JURASSIC PARK from) and others. Two scenes I particularly enjoyed were a crowd of screaming Japanese looking over their shoulders while running in terror and a little boy who wakes his parents to tell them that there is a dinosaur in the back yard.

It was reported that a paleontologist made sure that the dinosaurs acted as current scientific beliefs say they should. Hah! The Stegosaurs were the size of apatosaurs. Something, possibly the escaped triceratops, managed to knock a hummer airborne so that ir reached an altitude of at least a hundred feet and an amazing distance. Velociraptors can now leap three stories up and forty yards out. The tyrannosaur can run right through building walls without slowing down. Fun? Yes. Realistic? No way. Needless to say if the dinosaurs acted this way in the first movie then no one would have escaped.

Still, it was a very fun film that I recommend to any dinosaur lover who can stand to see people pulled apart by huge carnivores sharing a tidbit. The Lost World (the third film by that name) should be available on video and day now.

Steven Plays Around A Bit...
Actually, LWJP is just Steven Spielberg having some fun. It's an obvious tribute to movies like King Kong, Godzilla, and even the original 1925 version of The Lost World. It's a non-stop SFX extravaganza that is more dessert than a nourishing meal. Jeff Goldblum returns as Ian Malcolm. He is not bad in his role, though he does wear thin. Julianne Moore is beautiful as always, and pulls off her "concerned scientist" part with ease. The T-rex is back, with his mate and offspring. The Raptors terrorize, managing to kill off many slimy hunters and Ingen drones. Not a bad sequel, considering that most sequels are pure rubbish anyway. I enjoyed the T-rex running rampant in LA. I only wish it had had more time to cause hysteria and chaos! A nice binge-eating trip down Hollywood Blvd would've been cool! Oh well. Watch with brain on pause...

It's Lost All Right
"Jurassic Park" could be forgiven the lack of story and character development because it was artfully crafted to be a thrill ride. This sequel, also inspired by Michael Chrichton's book, departs more from the story and fully flops into the B-movie category.

Jeff Goldblum is back visiting the dinosaurs, along with several other characters from the previous movie. This time our scientists are observing the behavior of the dinosaurs, trying to learn as much as possible, a very scientist-like activity. However, greed plays a part once again as a team of big-game hunters come to the island to attempt to capture an array of dinosaurs for a dinosaur zoo in an attempt for Ingen to recoup some of its substantial investment in the dinosaurs.

All appears to be going well for everyone except the dinosaurs until the scientists decide to play environmentalists and release all the dinosaurs from their cages. The dinosaurs go on a rampage (ever seen a rampaging triceratops?), destroying the camp of the hunters. Even then our scientists would have been okay had they not decided to help a baby tyrannosaurus. The parents track down the baby with predictably bad results for the humans.

Now scientists and big game hunters alike are on the run from the tyrannosaurs, and in the process of escaping they encounter our old friends the raptors, still intelligent, still agile, and still very hungry.

Eventually some of the characters escape, and the tyrannosaurus and its baby are captured so that they can be taken to California. Something unexplained happens on the ship and the only thing left are the tyrannosaurs and a hand trying keeping a cargo bay door closed. Remove the hand and a miniature Godzilla roams the streets of San Diego.

The first Jurassic Park movie had plot holes that you were able to ignore in favor of the cool special effects and the action. This time the plot holes are bigger than the movie. Real scientists do not behave as Dr. Sarah Harding (Julianne Moore) does in this movie. As Dr. Ian Malcolm (Jeff Goldblum) advises her, "Do not interact," a basic rule of scientific observation. Interacting is for Green Peace and the Sierra Club, not for real scientists.

Our hunters blunder about in a manner that is guaranteed to get them killed. They run when they should walk. They walk when they should stay put. The actions of the supposed scientists continually put everyone into danger. When you remove the bullets from a gun, and the gun is later used to attempt to protect you, the result is predictable. The plot holes continue in allowing the tyrannosaur escape.

Added to the plot holes are moments of humor that further spin this movie into the realm of low-budget monster movies. The scene with the dog in a San Diego suburb was completely unnecessary. Of course, by that point I was beyond disappointed with the movie.

This movie does have a few good points, all based on action scenes, but the plot holes outweigh the good portions and the mistakes and silly behavior make this movie difficult to watch. I give this movie three stars because the special effects continued to be good, the only redeeming feature of this movie.

Okay, not as good as the first
This movie was okay. The first one is so much better, but this one is still not bad. I thought it was awesome when the T-Rex attacked a city! I still bought it because I love the movies. See it if you like the first, but don't expect it to be better.

MPAA: PG-13
Running Time: 129 minutes
Year released: 1997 ... Read more

Amazon.com

The Killers (1946)
This 1946 adaptation of Ernest Hemingway's short story adds well over an hour of new material to the original tale. The reason is, while director Robert Siodmak, star Burt Lancaster, and an outstanding supporting cast are faithful to Hemingway's work, his story only takes up about 15 minutes of screen time. Burt Lancaster plays the doomed man sought by hired guns in a small town. Hemingway's bruisingly concise dialogue makes an early sequence set in a diner quite unnerving, but after the killers dispense with their prey, Siodmak turns to an insurance investigator (Edmond O'Brien) who looks into the reasons behind the murder. An exemplary film noir (complete with a fickle femme fatale played by Ava Gardner), The Killers is all mood and fatalism.

The Killers (1964)
The 1964 remake (of sorts) by Don Siegel builds another whole world around Hemingway's narrow, if intense, premise. The two assassins of Siegel's film (Clu Gulager, Lee Marvin) go in search of their intended victim--a teacher (John Cassavetes) at a school for the blind--and find that he not only recognizes his fate when they show up, but seems entirely resigned to it. Curiosity leads the killers to seek out the party who hired them and discover why Cassavetes's character didn't run or fight. Soon the facts tumble into place--the dead man had once been a top-drawer racer who fell for a glamorous woman (Angie Dickinson), the latter gradually pulling him into the orbit of a criminal villain (a convincingly evil Ronald Reagan)--and the film becomes increasingly dark and dangerous. Originally shot for television but rejected for its violence, Siegel's film is a blistering experience of swimming against the currents of fate for one's survival--and losing. --Tom Keogh ... Read more

Reviews (15)

HEMINGWAY X 3
More than sex, food or survival, we are creatures driven to find meaning in our lives (or so it's said by those who claim to know such things). A recent film that taps into that mindset, with varying degrees of success, is now available in a fine digital edition.

Ernest Hemingway's famous short story, THE KILLERS, appears in three incarnations on this loaded Double Disc Special Edition. Robert Siodmak's 1946 version is best remembered for the luminous presence of Ava Gardner and the striking black-and-white cinematography of Woody Bredell. The essence of Hemingway's story about why Ole The Swede (Burt Lancaster) would passively accept his execution at the hands of hired killers takes up about 15 minutes of screen time. The rest is a look at the back story via an insurance investigation of his death.

This moody film whirls around an amoral central theme as all those connected to The Swede ironically seek meaning in his death. Also here is Don Siegel's 1964 movie Ernest Hemingway's The Killers, although not much of Hemingway's story remains. The cast features a menacing and unmannered young Lee Marvin and the last film appearance of Ronald Reagan in his only role as a heavy. And he's great.

Over 16 bonus features include Andrei Tarkovsky's 1956 student film of The Killers. Criterion is to be commended on the exquisite digital transfer of Siodmak's film.

unlikely pairing -- rewarding package
Despite the commonality of the source material, one would not expect these movies to be joined at the hip like Siamese twins. The 1946 Siodmak is definitive noir: black and white, contrasty, artfully lit, with William Conrad and Charles McGraw in the title roles, played almost as extras -- shadowy figures spouting Hemingway dialogue in an Eisneresque diner in a mythical New Jersey. The 1964 Siegel version, brightly-lit in color, casts the killers as the central characters, played not-quite-for-laughs in over-the-top characterizations by a prime-of-life Lee Marvin and Clu Gulager, (a very funny actor, who has also recorded a sensitive commentary) the philosopher hit-man and the health-food nut -- precursors perhaps of the Travolta and Jackson characterizations of Pulp Fiction. There's an excellent and knowledgeable reading of the Hemingway story by Stacy Keach, a poorly read excerpt from Don Siegel's autobiography, an interview with Siegel's biographer, a radio play with Lancaster and Shelley Winters (!) and for completists of Tarkovsky, a risible but competent student film. All in all a grab-bag that even includes an uncredited appearance of Charles "Ming the Merciless" Middleton as the farmer in the 1947 version. Marvin is hot, Gulager is a hoot, Lancaster a hunk and Ava a beauty. Then there's an Edmund O'Brien performance that's as subtle as the one he would give in The Wild Bunch. And for the political, John Cassavetes decks Ronald Reagan, who gives a cold, professional performance, and gets to slap Angie Dickinson. A great package, the sum worth more than the parts.

First rate Film Noir
The Killers from 1946, Burt Lancaster's debut movie, is fantastic. It is one of the finest in the noir genre. Ava Gardner is a truly devilish femme fetale. The plot is full of twists and turns. The film begins with the ending so to speak, like Sunset Boulevard. The mise-en-scene is stylish and dark. I highly recommend this film for fans of film noir.

The DVD is an excellent print. It is sharp and the soundtrack is well restored.

The "remake" for TV (1964) starring Lee Marvin and co-starring Ronald Reagan (as a heavy no less) is included. It bears little resemblence to the original. The film focuses on the killers this time, rather than an insurance detective. The killers are a preview of the kind of characters we would see thirty years later in Pulp Fiction.

Gritty film noir at its best!
Why would a man, who knows he's about to die, not care enough to save himself when he has the chance? This question lies at the centre of Ernest Hemingway's short story, "The Killers." It would be a question that would inspire three filmmakers to create their own cinematic adaptations of Hemingway's tale. The folks at Criterion have collected all three versions of The Killers and presented them in a comprehensive two-DVD set.

The first DVD, with the 1946 version, features an impressive introduction into the film noir genre. Author and screenwriter, Stuart Kaminsky is interviewed at length about the origins of film noir and the similarities and differences between the 1946 and 1964 versions and how they compare to Hemingway's original short story.

In an amazing bit of cinematic archaeology, Criterion found Russian filmmaker, Andrei Tarkovsky's take on The Killers. It's very minimalist in style and set design but is quite faithful to Hemingway's story.

Another highlight on this disc is writer-director, Paul Schrader's seminal essay, "Notes on Film Noir." Schrader outlines and defines the characteristics of film noir and puts it into a historical context.

The second disc, with the 1964 version, doesn't feature as many extras but does present a fascinating look at how Siegel's film evolved from a made-for-TV movie to a theatrical release. Some of the highlights include a hilarious memo from NBC's Broadcast Standards Department as they outline all the objectionable material they found in the screenplay. It becomes readily apparent that Siegel ignored all their suggestions and kept in all the offending material!

For fans of film noir this is an essential purchase as these two films are given the deluxe Criterion treatment. The prints of both films have been lovingly re-mastered and have never looked better. The wealth of extras entertain and educate, making this set an excellent primer for anyone interested in learning more about film noir.

A Must have for any collector of classic entertainment.
What more can I add to the reviews below? The Clu Gulager interview is absolutely fantastic. He reveals some very interesting facts regarding the filming and makes strong positive comments about his co-stars and the director. The Stacy Keach reading is also excellent. ... Read more

Reviews (45)

Fine Big-Screen Version of a Small-Screen Comic Classic
As I have not read any of Charles Addams' material, my only standard for comparison is the old television series, which was a childhood favorite of mine. I expected to be disappointed by this film, as I did not think anyone could duplicate the original cast. The story is not the emphasis; the weird and zany cast is the emphasis. Therefore, I plan to review the performances more than the overall film.

Cast List
Anjelica Huston ... Morticia Addams - Truly outstanding, stunning! I didn't think anyone could match Carolyn Jones, but Ms. Huston pulls it off.
Raul Julia ... Gomez Addams - A little too suave for Gomez, who was suave-covering-goofy when played by John Astin.
Christopher Lloyd ... Uncle Fester - I didn't think he could do it, but he did.
Elizabeth Wilson ... Abigail Craven/Dr. Pinder Schloss - A bit overdone, although that fits the film.
Christina Ricci ... Wednesday Addams - Just as good for the role as Anjelica Huston was for Morticia!
Judith Malina ... Grandma - Okay, but not memorable.
Dan Hedaya ... Tully Alford - Perfectly sleazy.
Carel Struycken ... Lurch - Eerily reminiscent of the original.
Christopher Hart ... Thing - Steals every scene, as Thing always did.
Jimmy Workman ... Pugsley Addams - Okay, but not memorable.
John Franklin ... Cousin Itt - Voice was wrong, and a bit too tall, but otherwise fine.

Overall - A fun romp.

THE ADDAMS FAMILY!
TIRED of movies based on old television shows being bombs? Well, weep no more my lady! "The Addams Family" is not only better than the television show, it is also almost as good as the original Chas. Addams cartoons from the New Yorker! And that is PRETTY GOOD, people! See RAUL JULIA as Gomez! See ANJELICA HUSTON as Morticia! THRILL as CHRISTINA RICCI steals every scene as Wednesday! And then there is CHRISTOPHER LLOYD! Is he Uncle Fester, or is he not? That is the question! Clearly somebody wants to get their hands on the fabulous Addams family fortune! Not only that, but the SEQUEL is pretty good too! FUN for the WHOLE FAMILY and you do not even need to wait for Halloween to enjoy it!

Awesome!
I can't believe Tim Burton didn't think of this, this is compleatly his style of movies! THIS MOVIE ROCKS! Great for everyone! this movie is a classic! if you like beetlejuice get this, if you like this get beetlejuice!

Good Movie
This is a real Tim Burton style comedy, even though he had nothing what so ever to do with this movie. See this, you'll like it.

A Short and Crappy Review by dylan.

The Addams Family Rocks!
I loved this movie, and I watch it every week. I am a huge Addams Family fan, so I loved the movie. Christina Ricci did much better than Nicole Fugerman, who makes a terrible Wednesday on the show, if I must say so. There are great special effects, and you will sigh dreamily at Gomez and gorgeous Morticia's undying love towards eachother. I love it! ... Read more

Reviews (21)

Great introduction to Westerns for women!
Westerns aren't known for having much appeal to women, but this one tops my Listmania list of "Westerns Even Your Girlfriend Will Enjoy."

Young Clint Eastwood and a gorgeous young Shirley MacLaine have real chemistry on the screen together in this romantic adventure. MacLaine plays Sister Sarah, a righteous but beautiful nun on a mission of political mercy. She's determined to get through some treacherous country on her own, with or without the help of the rugged Eastwood -- yer typical rougish figure turned reluctant hero.

There's a bit of a twist at the end... that I think is fabulous and brings closure to the whole story... Give it a watch and decide for yourself.

And sign up for notification for the release of this movie on DVD... This movie is definitely one to watch again and again and keep on the better medium.

Eastwood + MacLaine = Highly Enjoyable Western Romp!
Though a bit quirky at times, TWO MULES FOR SISTER SARA makes for great entertainment. This is mainly due to the pairing of Clint Eastwood and Shirley MacLaine; the two work surprisingly well (no, great) together, and form a hillarious duo. Do not be mislead by the DVD cover and back; Eastwood does NOT play his usual "Man With No Name", but rather a wandering nomad by the name of Hogan. One day he happens upon three men about to rape a young woman, and he of course plugs all three and saves her. Hogan is soon shocked to see that the woman is, in fact, a nun raising money for the Mexicans, and all the while on the run from the French. So the two pair up together, Sara in need of Hogan's protection and Hogan in need of her directions to a well-protected fort, where there is a safe full of over $1 thousand (I think). While the plot may not seem like much, what makes the movie so great is the constant bickering between the two superstars; seeing those two play off eachother is both fascinating and, at times, side-splitting. One can easily tell how this film served as a partial basis for the 1975 western ROOSTER COGBURN (AND THE LADY), in which John Wayne and Katherine Hepburn squarred off in a very similar fashion. One complaint I have about TWO MULES... is the score by none other than Ennio Morricone. Despite his brilliant music for Eastwood's MAN WITH NO NAME TRILOGY, his work here is far from impressive. But since the score is absent for most of the film, it is of little consequence.

After purchasing both "Universal Western Collection" editions of JOE KIDD and HIGH PLAINS DRIFTER, I was fearing more of the same here in terms of sound and picture. But luckily, this DVD is far superior in this sense. Unfortunately, there are even less extras present here than in those other discs; all you get is a trailer. But, as I said in my review for JOE KIDD, for $it's definitely worth it.

Clint Eastwood meets Frank Zappa
Pass on this hodgepodge of tuff guy meets nun/ballet dancer in a no-holds barred feature film guaranteed to bore you to tears.

Music from Heaven...
As one of the many people in the U.S. who engaged in a letter writing campaign to the film company, begging them to release a soundtrack recording for this movie, I can assure the previous reviewer that it wasn't available in the States when the movie was released. I can't speak for Canada, but as one of the people lucky enough to see the movie at it's New York Premier, and having seen it many times after that just to bask in the music and magnificent visuals again and again, I can tell you there was no soundtrack available when it first came out. The initial response we received to our letters was that a soundtrack wasn't planned at that time. It came out several months (nearly a year) after the initial release of the movie.

That aside, it is a dreadful shame that the entire soundtrack to Days of Heaven is not available by itself, as this recording is missing several essential pieces in the original LP soundtrack recording. The fact that this CD version hasn't been available for awhile, and used copies are nearly eighty dollars as of March 2004, tells me this soundtrack desperately needs to be re-released!

If you ever find this one at an affordable price, buy it immediately-this is gorgeous music...

...
I do want to correct one of the reviewers, "Days of Heaven" was initially released as a soundtrack upon the release of the movie but didn't stay in circulation for all that long. And with the pairing of "Two Mules for Sister Sara" this particular disc is once again going through the ranks of obscurity and hard to find, I know because I have spent 20 years searching to no avail. I was finally able to obtain "Days of Heaven" and shame on me from a music downloading site from a stranger from Denmark, he had no idea how much this music meant to me...it was my holy grail. It's a uplifting experience but sadly only 26 minutes of music that you never want to end. ... Read more

Description

Brilliant Belgian detective Hercule Poirot cracks the toughest cases with brainpower alone, endearing him to thinkers everywhere and making Agatha Christie the bestselling author of her day. As portrayed by DAVID SUCHET in this British television production, Poirot became the most-watched detective in the history of the PBS Mystery! series and a hit all over again on A&E. In these three stories, Poirot outsmarts both the criminals and the other crime-solvers in and around elegant upper-crust 1930s London.
Murder in the Mews—On Guy Fawkes Night, Poirot is called in on a case he suspects is murder made to look like suicide.
The Adventure of Johnnie Wavery—A country squire hires Poirot to investigate threats against his young son.
Four and Twenty Blackbirds—Poirot’s keen powers of observation and culinary know-how help him solve a murder case. ... Read more

Reviews (2)

MYSTERY 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!

Great productions, two weak plots
The excitement mounts (and shelf space decreases for collectors) as the 10th entry in the Hercule Poirot series appears! has, of course, all the superb production values of the other sets (both the short episodes on VHS and the longer ones on VHS and DVD) with the nearly perfect incarnation of Poirot in actor David Suchet. However even the most rabid fan must admit that two of the three plots are not top drawer.

"Murder in the Mews" is the strongest entry with its twist on "the murder set up to look like a suicide" element. Toss into the salad the caddish Major (James Faulkner), the pompous politician (David Yelland) engaged to the victim, and the best friend (Juliette Mole), and you have all the ingredients for a solid whodunit with a good red herring.

"The Adventure of Johnnie Waverly" telegraphs its solution too early in the proceedings for any interest to build up except for the question of How rather than Who. Also the precautions taken to prevent the crime are too unrealistic for credibility.

"Four and Twenty Blackbirds" again uses a bearded character, which in series such as this one too often means someone in disguise. I am not revealing too much, since Poirot knows this halfway through, but the criminal in this case was simply too careless and there are "too many clues." A nude artist's model with a sense of humor, however, does not hurt.

But mind you, these are still fun to watch as Suchet penguinwalks circles around Chief Inspector Japp (Philip Jackson). ... Read more

Reviews (6)

I love john sayles
There I said it I love John Sayles...of course plutonically lol

This is a great lesbian film that understands emotions, though older and low budget the theme is timeless and so are the emotions...see this film it is a turning point in films about lesbians yes it is made by a guy but someone should make him an honorary lesbian...he "sees" us.

A classic treat
John Sayles understands women more than some women understand themselves...I do not know what it is..but he gets us...

This is an older movie dated but the emotions are fresh....see where lesbian themed films began ...Lianna is a treat...ranks up there with older classics like Killing of Sister George, Theresa and Isabelle...through Desert Hearts to modern classics like A Family Affair, Aimee and Jaguar and now The L Word

Top Notch Sayles Flick
Sayles understands women better than many women understand themselves. This is a classic lesbian flick at a time when lesbian films were rare or non- existent...sure it is dated a bit, but it is well worth the watching. This is a great film capturing emotions and a womens journey into her own sexuality. A Classic film, see it!

Putting in my 2 cents
I recently began to collect lesbian films and the truth is that it's not easy to find good ones. I ordered this film because the reviews that I read on it seemed very good, but honestly I was a little dissapointed (again). I felt that the characters in this film had very little chemistry between them. The kissing was terrible, and the sex scene was definately not very hot...a little believable chemistry would have been good. The films was made in the 80's which is another negative. The bar scene was terrible, I thought it would never end. Any way I'm no expert on films put I do know when a film moves me and this one certainly did not. Please be your own judge.

My favorite John Sayles film
This is my favorite John Sayles film (which, considering how i feel about Lone Star, says a lot). This has much to do with Linda Griffith's wonderful performance as the title character. Sayles says his intention was to explore a situation where husband and wife divorce and the husband gets custody of the kids. This, of course, means something has to be "wrong" with the wife. At the same time, he didn't want her problem to be too impairing. Alcoholism and heroin addiction were out, so he made her a lesbian. When you consider the 1983 this is way ahead of its time and holds up well, especially against current films like But I'm a cheerleader. Good stuff. ... Read more

Amazon.com

Todd Solondz, director of the acclaimed Welcome to the Dollhouse and the controversial Happiness, continues pushing the envelope of social decorum with the merciless and casually cruel Storytelling, his most ruthless satire of suburban complacency. Broken into two unrelated chapters, "Fiction" follows college girl Selma Blair through a degrading encounter with her resentful writing teacher (Robert Wisdom), while the more sprawling and scattershot "Non-Fiction" circles around the mutual exploitation of a fumbling documentary filmmaker (Paul Giamatti doing a near-parody of director Solondz) and his clueless subject, a suburban high school slacker named Scooby (Mark Webber). The squirmy laughs are laced with humiliation and the satire is acidic and cynical; in the world of Solondz, victims and victimizers alike are petty, selfish, vindictive, and thoughtless, and empathy is strictly rationed. Though sharply written and well directed, this misanthropic vision is strictly for daring filmgoers and Solondz fans. --Sean Axmaker ... Read more

Reviews (61)

"Mandingo" and "Reality TV"
Although this third film by Todd Solondz is not as good as "Welcome To The Dollhouse" or "Happiness", it still smacks of satirical cynicism. Inexplicably split into two films ('Fiction', 'Non-fiction'), we are first presented with a twenty minute film about community college level 'writing', in which, a young woman has a confrontational and sexual sparring with the black, 'mandingo' teacher. It's all meant to be a comment on hypocritical racists in education. It culminates in an outrageous sex encounter that is literally 'blocked' by a large red rectangle (taboo emphasis). It's moderately entertaining.

The second part of the film is more complex. Without exposing too much of the plot, it involves (as "Happiness" did) classism, racism, sexism, oh hell, any 'ism' you could imagine. But it works. It is simply a story of an upper middle class American family with the 2.5 kids and the proper suburban parents with a perfect son, the 'imperfect' son and the 'baby'. Kudos to John Goodman and Julie Haggerdy for participating in this movie. They bring life and legitimacy to their roles. Solondz filmed this well before "reality TV" was popular, and that is the premise. While the imperfect son is being secretly filmed for a documentary, the family struggles through it's own unusually tragic existence (the youngest of the three sons is the 'Brady Bunch brat' we always thought we wanted to see as evil). Needless to say, Solondz produces many shocks and surprises along the way. The trip is wildly entertaining, but the finale may leave the viewer distraught. Not that the story is poorly conceived or arranged, but simply that the ending is horribly, terribly depressing. It still good enough to recommend. I consider that a rare accomplishment for any film-maker.

3 Stars for Part 2: "Non-Fiction"
When I was a kid "story-telling" was a nice way of saying someone was lying. And even though I will not make the obvious jump and say the Todd Solondz is lying in "Storytelling," I will say that he is at least disingenuous and at worst a fraud.
"Storytelling" is broken up into two parts: "Fiction," starring Selma Blair as a college writing student in love with a fellow student, who has Cerebral Palsy and "Non-Fiction," starring John Goodman, patriarch of a family of mis-fits and neurotics; one of whom is his slacker son Scooby, who wants to become the next Conan O'Brian (!) but refuses to study and apply to college.
The "Fiction" section of the film is noteworthy only in that the writing professor states( and I am paraphrasing here): When you begin to write about something, whether it be "true" or not...it becomes fiction. A pretty interesting comment resonating with meaning and subtext which is totally unlike the movie that surrounds it. The acting is flat, non reactional and amateurish with Selma Blair coming off worst. This role and her performance in it is merely an extension of her histrionics and whining in "Cruel Intentions." Painful.
The "Non-Fiction" section of this film is another story: there's some meat here to grab on to with Paul Giamatti playing a down-on-his-luck documentary film maker who convinves John Goodman that his slacker son, Scooby would be the perfect star of a docu-drama centering on the "alienated youth of the suburbs" Solondz is at his best here and the dead-pan dialogue and situations ring true and yet are subversive and thought-provoking.
"Storytelling" would have been a much better film had Solondz decided to hack off the "Fiction" section and extend the second. "Storytelling" may tarnish the Solondz mantel a bit, but for those of us who can appreciate the incendiary nature of his wit, we still have "Happiness" and "Welcome to the Dollhouse" to keep us warm until the next Solondz film is released.

Brilliant vision of how to tell a story¿
The mode of portraying a tale is in focus in Storytelling through two different stories that are disconnected, yet associated to one another, as one deals with the fictional and the other the non-fictional. In the first part, Fiction, Vi (Selma Blair) is in a relationship with Marcus (Leo Fitzpatrick) who suffers from cerebral palsy and both are attending the same university. Vi and Marcus are currently enrolled in the same creative writing class where the students scrutinize each other's writing. Fiction exposes how personal experiences are turned into writing, which is callously slaughtered by judgmental readers as they their own set of values to the cerebral playing field of literature.

The second part of Storytelling, Non-fiction, illiterates the reality of the world as Scooby Livingston (Mark Webber) perceives it. Scooby lives in a upper-class bubble protected by his ruling father, Marty (John Goodman), where Scooby is constantly asked, "what are you going to do with your life?" This endless questioning of Scooby's future seems to have been stressful for him as he has sunk into a zombie-like state. Scooby escapes reality through smoking pot or chewing down a couple of mushrooms where he flees into dreams of working as a co-host with David Letterman. The day when a shoe salesman, who aspires to make film, visits Scooby's high school in order to make a documentary about the process of entering college Scooby believes that this is his chance to make connections in the world of media. However, when the documentary comes along it begins to depict the dream-like world in which Scooby lives in.

Storytelling is a clever film that displays the symbiosis between the audience and the storyteller, which is meticulously directed by Solondz. Solondz depicts the power of the audience to choose what to believe and what to disregard if it is not portrayed in an manner that the audience can accept. In addition, Solondz offers a notion of how the power of storytelling can sway an audience's convictions in a chosen direction if carefully planned. In a sense Storytelling is a philosophical film in regards to film and film making, which can be derived from the economics, politics, and the arts. Yet, the philosophical debate of Storytelling is deep beneath the surface as the audience must use a dialectic approach in order to reach it. Nonetheless, Storytelling offers a terrific cinematic experience as it offers the audience to choose whether to sink into thought or merely enjoy the ride.

Look Again
If you strongly dislike this movie, I suggest reading Crowley's scathing early reviews of Faulkner; then read Crowley's later praise of the same works. Initially, Crowley was appalled by what he projected as Faulkner's baseness. Eventually he came to apprehend Faulkner's genius to see, describe, and even love 'man.' For me, the film is upsetting because the gaze is unbroken and the subjects are living/struggling in the world. Like Faulkner, Solondz is looking at his time. His view point is not ridiculing (that view is delt with in young pill to the right of the prof).

Interesting work.
Storytelling is an interesting movie that portrays the contemporary North American society.

It emphasizes the pitiful importance of the individual as the stem of a civilization; The mistaken use of woman's sexuality as a way to communicate love, pity, confusion and anger; reflects the worth that society has given to women as objects and shows the deep divisions between people of different socioeconomic and cultural backgrounds. Racism and the outcast of minorities are other elements shown but the most shocking issue is the dominant influence of media in our own lives. A single minute of fame and popularity could be worth the permanent loss of our values, personal convictions and even the lives of our most beloved ones.

A movie with content and meaning. ... Read more

Description

Charlton Heston plays humankind's last hope, the last survivor of a hellish, germ-warfare doomsday, fighting off fiendish subhuman mutants that stalk by night. Bonus featurette - The Last Man Alive. Starring: Charlton Heston, Rosalind Cash, Anthony Zerbe Year: 1971 Sound: ENG, FR; Subtitles: ENG, FR Screen Format: Side A: Standard; Side B: Wiedescreen ... Read more

Reviews (101)

Neville's Epitaph
A handful of SciFi movies from the 70s still have a message worth re-examining and the cast, sets, and music worth another view. Charlton Heston was in three of those movies, Planet of the Apes, Soylent Green, and last but not least Omega Man. Don't miss any of them. All three are now available on DVD and well worth adding to your library. Heston did an excellent job portraying Neville in Omega Man. A man who believes all healthy people are dead after a biological war. He lives alone in a penthouse fortress armed to the teeth. He finds a small community of a woman, a young man, and mostly children that are not infected yet. He must battle those that are infecteded to continue the human race. His blood is immune from the disease because of an experiamental drug he used during the holocaust. Can he develop enough serum in time to help them? Those infected use medieval weapons since they believe that Neville's technological weapons are part of the evil that brought about the holocaust of a biological war. Although the clothes and effects show their age it is still a movie well worth seeing. If it was remade today the message would not change much. In fact the age of the movie gives people a view of some of the clothes, furnishings, cars, and music from the era it was made. The quality of the DVD color and sound are great and it includes several extras.

Hippie Science Fiction.
It is the height of irony that Chuck Heston, who has recently raised the ire of numerous liberal do-gooders for his arch-conservative stances on issues such as gun control, was the star of counter culture sci-fi flicks of the late 60's and early 70's: Planet of the Apes, Soylent Green, and this classic, The Omega Man.

"The Man" has screwed up and destroyed mankind with his weapons of mass destruction. All that remains is a scientist (Heston) who discovered a vaccine against the deadly virus that has either killed people or turned them into mutant psychopaths. Also alive are a handful of children and a couple of adult free spirits; but unless they are vaccinated they will turn into mutants with time. ("Don't trust anyone over 30!") Can the Omega Man use his blood as a vaccine to save what is left of mankind? Can the Omega Man survive the night when all the mutants come out to try and kill him?

This is a fun movie! Sure "The Omega Man" is dated; but that is part of its charm: the music, the clothes, and those afros. Some parts are priceless such as sight of Chuck Heston watching the movie "Woodstock" and knowing all the dialogue by heart. Or a black mutant trying to convince the head mutant, Anthony Zerbe, to allow him to use artillery to blast Heston out of his "honky paradise." (On a serious note: This movie did feature one of the first interracial movie romances in which race is considered inconsequential.) Heston is at his hammy best here, and he does utter his trademark line: "Oh, my God!" The ending is a hoot with Chuck as Christ- "The blood of the new and everlasting covenant. It will be shed for you and for all so that sins may be forgiven."

"I was like Charleton Heston in "The Omega Man." Beauty movie, eh?"- Strange Brew

chuck heston battles zombie cultists!!
why are you still reading this?! chuck heston battles zombie cultists!! it don't get no better than that! order this NOW!

"the conclusion of all our yesterdays"
Based on Richard Matheson's "I Am Legend", which was recommended to Charlton Heston by Orson Welles, and one that Heston was inspired to make into a film, is a truly creepy sci-fi/horror classic. Heston is marvelous as Colonel Robert Neville, a scientist who is immune to the plague that resulted from biological warfare, due to an experimental vaccine he injected himself with.

The survivors infected with the plague are hooded mutants that cannot see in the daylight, and are bent in destroying all the attributes of civilization that remain on earth, crying "burn, burn, burn !" as they pile books in a fiery heap. Their leader is a former news anchor played to the hilt by Anthony Zerbe, who warns the zombie "Family" of the evil created by the "users of the wheel".
It is all quite thought-provoking, and has several connotations to terrorism today, and also has symbolism relating to Christianity; at one point Heston is tied up in a crucifixion pose, and his blood, turned into a serum, can save the remnant of humanity. There are a few reminders from the Book of Revelation, where of course, Jesus said "I am the Alpha and Omega".

Rosalind Cash is lovely as Lisa, one of the remnant hiding in the hills, and her relationship with Heston is a rare instance of an interracial love affair from that era. Films from the 1970s fascinate me, with the hair and fashion styles, and 8-track tapes in the cars.
This film has fabulous cinematography by Russell Metty of a deserted, devastated Los Angeles, a good score by Ron Granier, and fast-paced, disquieting direction by Boris Segal that will occasionally make your heart skip a beat with fright.
Total running time is 98 minutes.

Not so funny these days
Although intended as an alegory about conflict between rationality and mysticism, it seemed a little hokey to me for years. Now that the possability of someone concocting and releasing something like air-borne Ebola in Manhattan is a real cocern and not just a bad sci-fi dream, this really creeps me out.

Given the lines, budget and 70's dialog to work with Heston diplays his craft. He carries the movie. If the producers had saved some money and put a B-grade actor in the lead this would be limited to after-midnite re-runs. ... Read more

Amazon.com

Like its fellow HBO series Sex and the City, this half-hour comedy broke some TV rules and went from critics' darling to an award-winning series in three years. Curb Your Enthusiasm is the brainchild of star-creator Larry David who co-created Seinfeld and was the basis for the easily rattled George Costanza (who was played by Jason Alexander). Like George, David has a tendency to speak too much, blow things out of proportion, and, most often, fail in the end (and often liking it that way). David's new show is also like its predecessor: it's about "nothing" except following the day-to-day ramblings of a sometime writer and comic (this time in L.A.). Eternal questions stemming from universal daily dilemmas are honed to perfect comedic absurdity. A notable exception is the show is only scripted by plot; much of the action is improvised. The first season starts with a one-hour mockumentary following David's return to stand-up for the first time in years; the other 10 episodes follow a more traditional sit-com setup. David plays "himself" (as does his friend, Richard Lewis) although his manager and wife are played by comedians Jeff Garlin and Cheryl Hines. Although this first season is a comedic gem, one can't take more than an episode or two at a time--it's acidic, biting comedy. The episodes are often built like a house of cards, which the irritable David will surely collapse by the end. Like another caustic TV character, Dabney Colman's Buffalo Bill (1983-84), Larry David is not for everybody.

The second season is more of the same, and for fans, that's a good thing. The closest thing to an arc is David's season-long pitch to the networks for a new show starring former Seinfeld stars Jason Alexander and Julia-Louis Dreyfus. Each network is lampooned, especially HBO, which David has a bad history with in this alternate world. Sure to repel those with soft funny bones, Curb's acerbic comedy allows jokes where David is accidentally framed--if ever so briefly--as a child molester, wife abuser, or murderer. But for those who do love his shtick, there are big laughs, especially when we bump into characters as unbridled as David, like a fellow writer who is quite protective over his dad's invention, the Cobb salad. Many comic actors pop up, some as "themselves" (Richard Lewis, Rob Reiner) and others as characters (Rita Wilson, Ed Asner) along with the delights of co-stars Cheryl Hines as David's wife and his affable manger, Jeff Garlin. There are several touchstone bits: what a thong brief can do to a relationship, a run-in with pro wrestler, Larry's first baptism, and one very collectible doll. To pick one episode to capture this second season--and its grandstanding nature--it would be "Shaq," in which the NBA star is accidentally tripped, changing David's usual bad luck with gut-busting results. --Doug Thomas ... Read more

Reviews (4)

My favorite SET of Poirots So Far!!
I have all the DVD sets of Poirot - except for #6 which I am fixing to order! I LOVED this DVD the best so far!! Number #5 was so intertaining - and I highly recommend it.

It's great to have "Poirot" on video!
I so enjoyed the "Poirot" series when it was shown on PBS during the 1990's. David Suchet is for me the definitive Hercule Poirot, while Hugh Fraser and Philip Jackson are exactly how I always picture the characters of Captain Hastings and Chief Inspector Japp to be. This "Poirot" Box Set #5 contains three outstanding one-hour episodes. "The Tragedy at Marsdon Manor" is a haunting tale of the supernatural. Young and beautiful Susan Maltravers, mistress of Marsdon Manor, is being tormented by visions of a girl who killed herself years ago on the Manor grounds. I wouldn't like to reveal any more of the plot that, but I would like to mention that in the episode the camera work is a remarkable feature and the denouement is terrifying. "The Double Clue" is a clever story about a theft that occurs during an elegant garden party. Even his romantic feelings for a Russian countess cannot distract Poirot from his first duty, to track down the thief. "The Mystery of the Spanish Chest" is my personal favorite of the three episodes, an OTHELLO-like tale of jealous lovers. In addition to fine acting from each cast member and delightful period sets and costumes, each episode features a musical score that perfectly evokes the mood of the story. Anyone who loves the "Poirot" series will thoroughly enjoy this box set. Check out the other sets and the many full-length (103 minute) "Poirot" features, as well.

Still top notch entertainment
Thanks to Acorn Media, we may very well soon have all the Hercule Poirot episodes available for easy watching, the shorter ones on tape and the longer on DVD. With the arrival of Set 5, we have cases 13-15 from the classic BBC series that was once shown on PBS and currently in shamefully abbreviated forms on a commercial channel.

I have already posted my general comments about this series on the webpages for the first four sets, so let me cut to the chase.

"The Tragedy of Marsdon Manor" begins comically enough with a would-be mystery writer of an inn owner summoning Poirot to solve a baffling case that happens to be fictional. Naturally a real death takes place under what seems to be supernatural circumstances; and the production does indeed create a wonderfully English country manor spooky-ness that makes this worth watching. Never mind that the solution involves all sorts of twists that verge on the incredible; but to invert the aphorism in "Sleuth," this is Inspector Fiction, not Inspector Fact.

"The Double Clue" is exceptional in that it shows Poirot emotionally involved with a suspect, a fascinating (at least to him) Russian countess who might or might not be involved in a series of jewel thefts. Japp is honestly in fear of losing his job unless the thefts are stopped, while Miss Lemon and Hastings do their own sleuthing as Poirot spends time with the countess. "The Mystery of the Spanish Chest" has a plot within the plot, so to speak, rather far-fetched. However, the presence of actor John McEnery and the opening surreally filmed dueling sequence more than make up for any storyline inconsistencies.

Again, it is always instructive to compare these dramatizations with the originals; but the former stand up very nicely on their own.

More gorgeous Poirot adventures
The neat-freak Belgian Hercule Poirot returns, along with the faithful Captain Hastings, blunt Scotland Yard Inspector Japp, and hyper-efficient Miss Lemon.

"The Double Clue" is a bit of a tearjerker--jewels vanish, Japp's job is on the line, and Poirot is beginning to fall for one of the suspects, neglecting his job. Hastings and Miss Lemon attempt to salvage the investigation, but without Poirot they are going to have trouble. The end is sad, and this is the first of the Poirot shows to indicate that Miss Lemon might have more than professional feelings for her employer.

"The Mystery of the Spanish Chest" is a strange story about love, deceit, jealousy, honor, and lots of swords. A man is found stabbed in a "Spanish Chest"--and even Poirot is being checked out. This includes the excellent scene where Poirot, along with a friend, end up dancing the Charleston (with very bad grace)

"The Tragedy of Marsden Manor" is a particular favorite, with an elderly man dying unexpectedly and leaving a beautiful young widow who is being attacked by a ghost. The actress playing Lady Marsden is downright chilling at times, such as when she is staring up at the trees, and this story includes a man asking Poirot to proofread his mystery novel. ... Read more

Amazon.com

Kip Raines (Giovanni Ribisi) is a cocky young car thief working with a crew to steal 50 cars for a very bad man whose nickname is "The Carpenter." Being young and cocky, Kip messes up, so it's up to his big brother, Randall "Memphis" Raines (Nicolas Cage), to come out of car thief retirement and save him. With a cast that includes Robert Duvall, Angelina Jolie, Delroy Lindo, Cage, and Ribisi, it would be easy to say this story wastes all their talents--which it does, but that's not the point. This is a Jerry Bruckheimer film. A good story and complex characters would only get in the way of the action scenes and slow the movie down. No, Gone in 60 Seconds (based on the cult 1974 film of the same name) is not about the stars as much as it's about cars. Fast cars. Rare cars. Wrecked cars. All cars. Too bad director Dominic Sena (Kalifornia) doesn't come across as more of a gearhead; he seems less interested in fast cars than fast cuts. But is this movie fun? Absolutely, and it's fun because it's so stupid. With pointless car chases and hackneyed dialogue in one of the most predictable plots of the year, Gone in 60 Seconds is a comic film that's not quite a parody of itself, but darn close. --Andy Spletzer ... Read more

Reviews (328)

Good Movie...Cage Needs More Sleep
When I first went to see "Gone In 60 Seconds", I had never heard a word of it in previews or word-of-mouth. I never liked or could sit through any Nicholas Cage movies until this one though. Cage plays a rather lathargic Randall Raines, a reformed car theif who is unwillinglly drawn back into his old profession to save his younger brother Kip (The Wonder Years' Giovanni Ribisi) from death. Kip takes a car boosting job for the meanest car-theft ringleader in town (A part which even I could've played better than this guy), and faces the ultimate price for mistakes. To keep the big boss from killing his brother, Cage must round up old collegues to pull off the biggest boost of their lives. Some of his partners in crime include Angelina Jolie, Robert Duvall and my favorite...Vinnie Jones as The Sphinx. Each with his/her own special tallent, they work at moving 50 cars in 2 days to save little Raines. The one thing that kept the movie from running out of gas at the box-office I think, was the fact that they went in-depth as far as methods of boosting the cars...instead of knocking on someone's door and stealing the keys from the kitchen table. And there's a lot of laughs along the way that keep it from seeming like a re-run of CHIPS. Up-beat comedy makes the movie a lot better than it could've been, my favorite part was Nicholas Cage taunting a seriously ghettoed-out rival theif from inside a diner who was out kill him. The movie does have a few corney scenes that were obviously forced by a nerdy director...but the action, the laughs, and all the new stuff you learn about stealing cars these days is what makes it a good pick for me. I think this movies' like alcohol though, if you get in a car after it youre gonna feel like driving like a maniac. Nicholas Cage deffinately hits a mark with this one.

An escapist guilty-pleasure movie
If you're the kind of moviegoer who likes to watch some films without having to do a lot of thinking, loves action and hot cars, and likes to watch a goofy movie without having to think about character depth or surprises in the story, you'll like this movie. I recommend it only to people who like such movies. I don't mind watching such a movie now and then, and there are some things that I thought were pretty cool.

The 1967 Shelby GT-500 Mustang is the best thing about the movie. I've always liked cars and this is a rare classic. The climactic chase is cool and well done. Nicholas Cage actually did 98% of his own stunt driving. Another thing I liked was Robert Duvall. I guess he's the kind of actor who can survive anything. And the opening boost of a brand new Porsche 911 right out of a factory showroom was kind of neat, and funny as well.

But the story is predictable, awfully predictable. You know the hero will save his brother's life. The only surprise is in the final delivery of that Shelby. If you actually saw the original 1974 film you'll recognize a scene in a garage that pays homage to a similar one in the old film. It involves a car, a cop, and heroin. I was also disappointed that the final chase doesn't last longer.

GREAT CAR FILM!
"Gone in 60 Seconds" exists for one purpose: to show off some of the hottest cars in existence. The storyline is kind of hokey, but the cars more than make up for it, especially the GT 500. The car chase at the end is one of the best ever filmed! All the actors (Especially Robert Duvall, who can never give a bad performance) do fine in their roles. All in all, "Gone in 60 Seconds" is a one @#*& of a ride!

Also, don't miss Christopher Eccleston (plays the villain, Raymond Vincent Calitri, in this film) this January, when he resurrects one of the greatest characters of all time, the Doctor, in BBC's new "Doctor Who" series. BBC plans to send it to American TV stations as well.

Movie Grade: B+

Maybe a three star movie, but still...
A waste of great talent is probably the most honest thing I can say about this flick.
Jolie is Academy Award material and she hardly does anything in this movie. Gage is a master, this movie was a waste of what he's capable of doing, but I guess he's a good draw. I actually saw this at the theater when it came out and a second time recently. There are cool cars and some cool chase scenes, so it's not that it isn't entertaining, it's just that I was expecting a lot more.

Great chase scenes- cheesy otherwise
Nick Cage is pretty good in this film- the car chase scenes are wild and fun- the rest of the storyline gets kind of schmaltzy and is really predictable.Good action flick when you need to zone out- if you want something with more substance- go back some years and watch Dirty Harry! ... Read more

Amazon.com

Critics tripped all over their big feet to praise Big Night, and in doing so performed a grave disservice to this fine little film. They fooled audiences into believing it was a "super movie" instead of a home movie buoyed by friends and family. Consequently, many viewers were disappointed. Big Night is an intimate look at the immigrant struggle to attain the American Dream, set in New Jersey in the 1950s. Its disproportionate success gave co-directors Stanley Tucci and Campbell Scott, who also star in the picture, the green light to follow up with a smug, unsuccessful second venture called The Imposters. Tucci wrote Big Night with his cousin Joseph Tropiano, and they based the story on the experience of growing up in a large, proud Italian family. The brothers in Big Night--chef Primo (Tony Shalhoub) and businessman Secondo (Tucci)--have come to New Jersey to open a bistro named The Paradise that serves the finest in traditional, authentic Italian cuisine. Their every move is foiled by rival restaurant Pascal's, which serves mile-high servings of spaghetti and meatballs and flasks of bad Chianti at exorbitant prices.Primo is disgusted by the fact that Americans want cheap pasta instead of risotto, so Secondo hatches a plan to boost business: rumor has it bandleader Louis Prima is travelling through and will dine at The Paradise that very night.Secondo gambles to bring the finest dinner ever cooked--at the risk of losing his shirt and being reduced to exile to the old country with his tail between his legs. Big Night is a film that will easily invite comparisons to other "food" fare like Babette's Feast and Eat Drink Man Woman but, though Tucci insists his story is "about the struggle between art and commerce and the risk of staying true to yourself," the media refused to let it stay a small, comparative work. The movie, and the buzz around it, became a parable for the essence of the film itself: art vs. commerce. --Paula Nechak ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more

Reviews (510)

Shallow "Ocean" Needs More Depth.
Steven Soderbergh adds a stylishly slick film to his roster with this re-make of the 1960 rat-pack Frank Sinatra outing. ................ Although the cast was terrific, with dialogue sharply delivered by top billing box office stars, as well as veterans Carl Reiner and Elliot Gould in amusing roles, something is missing within. That something is true character development. Despite all the aforementioned positives, this missing element takes away a dimension from the story. Who are these people? Roberts was married to Clooney before he was sent to prison, but I couldn't find the emotion between them until the very end of the film. There didn't seem to be much fire between Roberts and Andy Garcia's elusive, cold and non-descript character either. Garcia is a favorite of mine, but he doesn't shine with his usual warm, emotional performance here. ................. Julia Roberts, Brad Pitt? I never really got a good idea of any of them. So, despite the fantastic ensemble cast, exciting Vegas atmosphere, intriguing premise and Soderbergh's expert direction, this "Ocean..." left me somewhat dry. ............... While "Ocean's 11" is a movie that will certainly entertain you fleetingly as you view it, the desired effect while we watch, it's not one I'd see again and again. There are films that you know you can view repeatedly without tiring of them, and then some where you say, once IS enough. In my opinion, "Ocean's 11" falls into the latter category. ................ For me, character development is an important factor that makes a film realistic and believable, but if it is not integral for your enjoyment, I would not hesitate to recommend you catch this wave once too, at least for the positives it DOES have going for it.

Take it on its own, it's a very good film.
George Clooney, Brat Pitt, Matt Damon, Casey Affleck, Scott Caan, Don Cheadle, Elliott Gould, Bernie Mac, Carl Reiner, Edward Jemison and Shaobo Qin are all brought together in one of the best ensemble cast films I have seen in a long time. That takes care of Ocean's Eleven (Danny Ocean played by Clooney) but they are matched against Andy Garcia & Julia Roberts. Steve Soderbergh (Traffic; Sex, Lies & Videotape) directs a masterpiece of action/drama with some of the biggest names in the business.

The mystique of Vegas, the lure of cash and the romance of life make this a film for everyone. Great dialogue, excellent dramatic shots from Soderbergh and incredible acting by the entire cast put most other crime based movies to shame. Andy Garcia makes you hate him, you feel for George Clooney, but you also see the reasoning in Pitt's character and Reiner's performace is great too.

Anyway, if you enjoy the James Bond movies, the Mission Impossible movies, or any other fun action films, you should give Oceans 11 a chance. DO NOT base your viewing of this on the original Sinatra and the Rat Pack film. The only similarities are the ensemble cast, Vegas Casinos, money and the title of the movie. This is not a remake, it is a reinterpretation based loosely on the original script. At least give it one viewing, you may fall in love.

yet another example............
Hollywood has managed in this film to once again show
how really great it is to be a thief.....And they managed to use, in my estimation, the top worst to do it.
Clooney, who always portrays himself in no matter what role he takes...Pitt who walks thru his role like a zombie throwing in one liners to make it interesting???? And let's not forget the token female, Roberts, who I am still trying to figure out how she can be the most beautiful woman in the world, or is it one of the top five in the world? I forget......
The only redeeming thing about this film was the presence of Garcia and maybe the Las Vegas location. I have no plans to see the sequel as I am sure it will be more of the same humdrum
as this turkey was. To me it was just as boring as the original one only an updated version.

mediocre, boring, pathced
1. Difficult to imagine such boring movie with so many stars. The very presence of Julia Roberts only slowed the action, and took precious time from the main action. Her role was schematic and straightforward: could have used some young, beautiful actress instead, and spend less time on her. At the end, it was not clear to me, why did she have to leave Benedict and return to Ocean. Benedict could have said anything he wanted to Ocean to get his money back.

2. Most of the characters remained obscure and flat. I had to watch it 2 times in a raw to just figure out their faces, but I still have no clue what was their crucial point in the action. Compare to "Sneakers" for example, where all chara