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When a Great Dane puppy is raised with a litter of Dachshunds, itnaturally thinks it's a Dachshund too--even when it grows to 10 times thesize. Dean Jones and Suzanne Pleshette star as the hapless couple who tookin the galumphing dog, which wreaks havoc on their house and home. TheUgly Dachshund is mostly a series of spectacular disasters (the doggydemolition of Jones's art studio will delight kids and reduce adults tonervous wrecks), but it's held together by the convincing domestic banterof Jones and Pleshette (who was quite a dish in 1965); the pair went on tostar in a couple of other Disney live-action flicks, Bluebeard'sGhost and The Shaggy D.A.. Despite some racial and genderstereotypes, it's a good-natured and amusing movie in the Disney mold.Also featuring classic character actor Charlie Ruggles (Bringing UpBaby, The Parent Trap). --Bret Fetzer ... Read more

Reviews (5)

Great for Dachshund fans!
Very cute movie for Dachshund fans or Great Dane enthusiasts! My favorite live action Disney movie -- long out of print. I am so happy that Disney released this on DVD. It is fun seeing the original trailer and the little featurette about Disney's dog stars too.

Funny movie!
This is a clean, funny movie for the whole family. I would recommend it to anyone who needs to laugh. This movie is particularly funny if you own a dachshund.

I've been begging Disney for years to release this movie on DVD. I'm so glad they finally did!

Classic Disney Film
In the classic tradition of Disney fluff, comes Dean Jones and Suzanne Pleshette who play Mark and Fran Garrison, a childless couple who's baby is Danke, their prize winning Dachsie. When the film opens, they are rushing to the hospital to have a baby. Not their own, rather, Danke's.

Mark is now even more outnumbered by females 5-1, and he's ready for some more masculinity in the family. When Mark picks up the Dachsies at the Vet hospital, Mark discovers from the doctor that a male Great Dane pup has been rejected by his mother, and agrees to take it home and allow Danke to nurse it. Fran believes that Danke just had another puppy, even though he looks different.

As time goes by, Fran realizes that "Brutus" is a Great Dane and insists that he be taken back to the hospital. Mark agrees, but can't get that pup off is mind. When Mark is given a birthday only fit for Dachshunds, he blows his top, only to find Fran surprises him with Brutus, now almost full grown.

Over time the Dane and Dachsies grow up and get into lots of mischief. Most of the times the Dachsies were responsible, but Fran can't believe that for one minute! The ending of the film brings Fran and Mark back together and they both become proud of the Dane Brutus has grown up to be.

I highly recommend this film to all ages. I watched The Ugly Dachshund when I was little, and now my daughter enjoys it, so it definitely stays a favorite over the generations. This wholesome, comedic type of film is hard to find these days, so grab this dvd up while you can! I also recommend other Disney titles starring Dean and Suzanne- Blackbeard's Ghost and Shaggy D.A.

The Ugly Dachshund
This is one of the best movies for children that I have seen. It keeps moving so you don't get bored. And is very funny. I recommend it to anyone who wants a good laugh. Watch it and enjoy!!

The Ugly Dachshund, Great For The Whole Family
This is one of my favorite movies! Dean Jones plays an artist married to Suzanne Pleshette who has a purebred dachshund about to have puppies. As a favor to their vet, Dean sneaks in a Great Dane pup with the dachshund pups and that's when all the fun begins! I had this movie on video and I've shared it with children and adults...everyone laughs at it. It's a sweet comedy that everyone can enjoy. ... Read more

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If you don't mind a heavy dose of schmaltz and sentiment, this romantic comedy has a gentle way of seducing you with its charms. While You Were Sleeping was the first starring role for Sandra Bullock after her blockbuster success in Speed. In a role that nicely emphasizes her easygoing appeal, Bullock is the reason the movie works at all. She plays Lucy Eleanor Moderatz, a Chicago Transit tollbooth clerk who's hopelessly smitten with a daily commuter, Peter Callaghan (Peter Gallagher). She saves the object of her affection from certain death after he's mugged and falls onto the train tracks. While Peter is in a coma, she lets his family believe that she is his fiancée, and surprisingly finds herself drawn to his brother (Bill Pullman), for whom the attraction is definitely mutual.How Lucy gets out of this amorous predicament is what makes this pleasant movie less predictable than its familiar ingredients would initially indicate. It's feel-good fluff, with characters and performances that keep you smiling through the drippy plot mechanics. --Jeff Shannon ... Read more

Reviews (143)

Thoroughly Likable Romantic Comedy With Some Complexity
A lonely subway ticket-booth worker, Sandra Bullock, has a crush on a daily commuter, Peter Gallagher. When suave Gallagher is mugged and almost killed, Bullock saves the day. At the hospital, she is mistaken for Gallagher's fiancee, which feels so good that Bullock goes for it. Gallagher's slightly eccentric but very warm and likable family instantly adopts her. Meanwhile, Bullock finds out that the comatose Gallagher was not really very charming, but was actually shallow, materialistic, and snobbish, as is his real fiancee. However, Gallagher's brother, Bill Pullman, is what Bullock thought Gallagher was, and . . . well, nature takes its course.

Sandra Bullock is completely charming in her first starring role, and you want to either take her home or have her move in next door. Her "fiancee's" family consists of a very likable and somewhat eccentric group, played by a veteran cast including Glynis Johns, Jack Warden, and Peter Boyle.

This is a very nice movie filled with nice people. For my money, it's better than "Sleepless in Seattle". It has a little more depth, more realism, and less perfection. "While You Were Sleeping" is not completely predictable, like "Sleepless" is. For what it is, few movies do it better.

Perfect Romance for the Holidays!
In the overfed, overtired stupor that was my Christmas Day 2000, I decided to watch this movie again, having seen it maybe five times before. I never realized before what a perfect holiday movie it is! Of course, it's funny and romantic, and Sandra Bullock is perfect in her role as the lonely toll booth worker (though she may be just a tad too beautiful to be entirely believable as a single woman) and Bill Pullman-funny, smart, boyishly handsome Bill Pullman-finally gets the girl in a film.

But the movie also makes one realize the importance of family and people to love and be loved by, especially around those Major Holidays when we're usually too stressed out with gift-buying and feast-cooking to notice the really important thing-people. Watch this film some cold winter day, either alone or with loved ones, and you'll realize the same thing, along with being warmed from the inside out.

SWEET MOVIE!!
While You Were Sleeping is endearingly sweet and laugh-out-loud funny. Sandra Bullock and Bill Pullman, the romantic leads, are excellently cast and have an even more excellent chemistry between each other. This movie will have you awwwing at the love between Lucy and Jack, and laughing at the family and situation. Highlight to look out for is the icy sidewalk scene- very very well done!! This movie is also very appropriate. In all, great movie, a little predictable but cute!

Sweet but not (too) overdone
While You Were Sleeping represents the pinnacle in chick flicks. Girls, you already know what I'm talking about. But guys, if you're looking to score with the ladies as a sensitive, caring man, watch this movie with your girl. It's guaranteed to promote feelings of goodwill, kindness, and heartfelt gratitude on their part.

Like virtually all those movies in this genre, Sleeping one doesn't really deserve a review for its dramatic value. The entire plot hinges on a few engineered coincidences while the story, cute and engaging, wins no awards for its daring portrayal of real life. But as I said before, that's not what we're looking for. Lucy, a sweet, lonely young thing who works in a Chicago tollbooth, is ably played by Sandra Bullock. The love of her life, to whom she has never spoken, is Peter Callahan, a rich young playboy who rides the train to and from work every day. It all comes to head when his not so understanding friends push him into the tracks, necessitating his resuce (by Lucy, of course) and his subsequent move to the hospital. Here's where it gets interesting--Peter's family rushes in and in the confusion mistakes Lucy for Peter's fiance. Hilarity ensues as virtually all the family welcomes her with open arms without any idea of the mistake. It's only the younger son, Jack (Bill Pullman), who is suspicious, and in his search for the truth finds more than he bargined for.

The power of the movie is found in its two stars. Tension between Sandra Bullock (in her signature role, to be reprised in countless movies afterwards) and Bill Pullman are palpable, moving the silly plot along with their realisic chemistry. In the end, While You Were Sleeping is a lovely story about family, friends and love, and I highly reccommend it for anyone who needs a pick-me-up and have already seen Amelie.

Lucy and jack. 16th april 2004.
Lucy[sandra bullock], see A man peter[peter gallagher] again even though i don't think she even knows him, she fancies him. He is pushed onto a train track, she saves him by moving him away before he gets killed. Peter is in a comber, and all his relatives think that she is his fiancee. Peters brother jack meets her and while he is still in hospital, they both fall in love, but when peter is finally out of hospital, he wants her too. WHILE YOU WERE SLEEPING, EVERYTHING WENT ON WHEN HE WAS IN THAT HOSPITAL BED. ... Read more

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Willy Wonka & the Chocolate Factory (Widescreen 30th Anniversary Edition)
Having proven itself as a favorite film of children around the world, Willy Wonka & the Chocolate Factory is every bit as entertaining now as it was when originally released in 1971. There's a timeless appeal to Roald Dahl's classic children's novel, which was playfully preserved in this charming musical, from the colorful carnival-like splendor of its production design to the infectious melody of the "Oompah-Loompah" songs that punctuate the story. Who can forget those diminutive Oompah-Loompah workers who recite rhyming parental warnings ("Oompah-Loompah, doopity do...") whenever some mischievous child has disobeyed Willy Wonka's orders to remain orderly? Oh, but we're getting ahead of ourselves ... it's really the story of the impoverished Charlie Bucket, who, along with four other kids and their parental guests, wins a coveted golden ticket to enter the fantastic realm of Wonka's mysterious confectionery. After the other kids have proven themselves to be irresponsible brats, it's Charlie who impresses Wonka and wins a reward beyond his wildest dreams. But before that, the tour of Wonka's factory provides a dazzling parade of delights, and with Gene Wilder giving a brilliant performance as the eccentric candyman, Wonka gains an edge of menace and madness that nicely counterbalances the movie's sentimental sweetness. It's that willingness to risk a darker tone--to show that even a wonderland like Wonka's can be a weird and dangerous place if you're a bad kid--that makes this an enduring family classic.

The Wizard of Oz
When it was released during Hollywood's golden year of 1939, The Wizard of Oz didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite saw its popularity soar. And while Oz's TV broadcasts are now controlled by media mogul Ted Turner (who owns the rights), the advent of home video has made this lively musical a mainstay in the staple diet of great American films. Young Dorothy Gale (Judy Garland), her dog, Toto, and her three companions on the yellow brick road to Oz--the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), and the Scarecrow (Ray Bolger)--have become pop-culture icons and central figures in the legacy of fantasy for children. As the Wicked Witch who covets Dorothy's enchanted ruby slippers, Margaret Hamilton has had the singular honor of scaring the wits out of children for more than six decades. The film's still as fresh, frightening, and funny as it was when first released. It may take some liberal detours from the original story by L. Frank Baum, but it's loyal to the Baum legacy while charting its own course as a spectacular film. Shot in glorious Technicolor, befitting its dynamic production design (Munchkinland alone is a psychedelic explosion of color and decor), The Wizard of Oz may not appeal to every taste as the years go by, but it's required viewing for kids of all ages. --Jeff Shannon ... Read more

Reviews (27)

ALOHA, HAWAII! Elvis loved it there.
If I had to summon up the content of this whole movie in one word, it would be: "exotic". Why I say that is because of the scenery, the palm trees, the Waikiki beach, the beach boys and girls, the Hawaiian music, the ukeleles, the luau, EVERYTHING! Elvis is a returning G.I. who does not want to go into his family's pineapple business. Instead, he works for a tourist guide service, and his first customers are a pack of gorgeous-looking girls and a beautiful chaperoning schoolteacher (Nancy Walters). Beautiful Hawaiian wedding scene at the end when Elvis marries Joan Blackman. Angela Lansbury is perfect for Elvis' mother in this picture. She enjoyed working with Elvis. "Blue Hawaii" is quintessential and Elvis' top picture and
his best '60s musical next to "Viva Las Vegas", and "G.I. Blues".

Tour Hawaii with Elvis!!!
Tour Hawaii with Elvis Presley!!! That's a pretty good description of this musical, the success of which marked the end of the singer's attempts at being a serious actor. For what it is--a travelogue with music and a slight plot--it isn't bad at all. But "King Creole," "Flaming Star," and even "Follow That Dream" demonstrated that Elvis could indeed act when given half the chance. That's all "Blue Hawaii" is, though: half a chance. The songs aren't exactly rock and roll, but most provide pleasant listening, and, of course, this is the movie that introduced the lovely "Can't Help Falling in Love," the song with which he would end all of his concerts in the 70s. Angela Lansbury is on hand as Elvis' mother, even though she was only a few years older than him (just as she was only a few years older than Laurence Harvey when she played his mother in "The Manchurian Candidate" the next year, a movie in which Elvis might just as well have been cast considering his apparent manipulation at the hands of Colonel Parker), and, of course, there are plenty of luscious babes about for those who don't consider Angela a turn on. "Blue Hawaii" is a real mixed bag. It is, perhaps, the very definition of "fluff," and as fluff it is attractive, but it would ultimately lead to dozens of execrable imitations that would make Presley's movie career one of the most lamentable in history. The writing was on the wall and, more importantly, in the grosses.

Can't Help Fallin' In Love With This Movie
Mr Presley certainly wasn't a great actor, but this movie shows him off to his best advantage. The music isn't the usual bad Elvis movie music and the scenery is to doe for. The storyline could come from any family - a son trying to be independent, a father who wants son to follow in his footsteps, a dropdead gorgeous girlfriend who just isn't what HIS folks had in mind, outrageous friends and an airhead, over-protective mama dead-set on embarrassing the son at any given chance. The plot is easy to follow and even makes sense. OK, not everyone breaks into song on a horseback ride, but what the Hell ! The wedding scene ( oops, gave it away ) makes up for any gaffes.

Blue Hawaii
I think this movie was above and beyond Elvis's usual movies. It has a cute plot and the scenery is unbelievable. If you are not a Elvis fan you will fall in love with the scenery.

Wonderful Postcard
I re-watched this just before going to Maui last November on my first trip to Hawaii. The story may not be much, but the scenery is "spot on" and this is a nostalgia trip for the "older Hawaii" of the 50's. What a great postcard, and Elvis thrown in, doing his 60's Elvis thing, with more style and good grace than later films would exhibit. He seemed to enjoy himself and you'll enjoy the music. ... Read more

Reviews (186)

Love the Movie!!! Newer DVD is acceptable quality ...
I have always liked this movie. Sure, the story never reaches its purported climax, but there's a lot of fun getting there ...

Let me address the DVD issue right off: I have (apparently) a remastered version, widescreen, with chapter selection and promotional trailer included. The quality of this DVD is pretty good. I can't remember the exact cinematography but it seems like this is how the movie always appeared. Not top-notch but acceptable. The trailer is not as well preserved but is OK.

(I noticed this on the Rambo: First Blood Part II DVD I just bought ... on that DVD, the trailer is so-so, however the picture on that movie is crisp and very well preserved).

OK, back to the movie. A freak storm catches the USS Nimitz aircraft carrier and transports her and her crew back to December 6, 1941 just off the coast of Pearl Harbor, Hawaii. The BIG question: Ignore or Intercept the Japanese Navy when it attacks on December 7? ... if you haven't seen the movie, I won't spoil it for you here.

There are top-named actors like Martin Sheen, Kirk Douglas, James Farentino, Katharine Ross and Charles Durning. And there are a few real carrier personnel who weren't professional actors, obviously. But they got to be in the movie and who could blame them? Most people who like this film enjoy the time-travel, naval-combat aspect of it and overlook the occasional potholes in the storyline. Hey, just have fun!

There are some great launch sequences of Naval fighter aircraft, recon birds, tankers and helicopters. And the inflight sequences are pretty good too. You get to see F-14 Tomcats, A-7 Corsairs, A-6 Intruders, EA-6B Prowlers, E-2C Haweyes, SH-53 Sikorsky's and more. Plus the carrier crew equip the aircraft with the Mach 4+ AIM-54A Phoenix missiles, AIM-9 Sidwinders and AIM-7 Sparrows for air combat. Great stuff!

Overall the quality of the DVD movie is fairly decent and played well on my 55" big screen and my 27" small screen TV's. If you haven't seen the film, it's similar to "The Philadelphia Experiment" with Michael Pare and Nancy Allen. Enjoy!!

Love the Movie ... Newer DVD is acceptable quality ...
I have always liked this movie. Sure, the story never reaches its purported climax, but there's a lot of fun getting there ...

Let me address the DVD issue right off: I have (apparently) a remastered version, widescreen, with chapter selection and promotional trailer included. The quality of this DVD is pretty good. I can't remember the exact cinematography but it seems like this is how the movie always appeared. Not top-notch but acceptable. The trailer is not as well preserved but is OK.

(I noticed this on the Rambo: First Blood Part II DVD I just bought ... on that DVD, the trailer is so-so, however the picture on that movie is crisp and very well preserved).

OK, back to the movie. A freak storm catches the USS Nimitz aircraft carrier and transports her and her crew back to December 6, 1941 just off the coast of Pearl Harbor, Hawaii. The BIG question: Ignore or Intercept the Japanese Navy when it attacks on December 7? ... if you haven't seen the movie, I won't spoil it for you here.

There are top-named actors like Martin Sheen, Kirk Douglas, James Farentino, Katharine Ross and Charles Durning. And there are a few real carrier personnel who weren't professional actors, obviously. But they got to be in the movie and who could blame them? Most people who like this film enjoy the time-travel, naval-combat aspect of it and overlook the occasional potholes in the storyline. Hey, just have fun!

There are some great launch sequences of Naval fighter aircraft, recon birds, tankers and helicopters. And the inflight sequences are pretty good too. You get to see F-14 Tomcats, A-7 Corsairs, A-6 Intruders, EA-6B Prowlers, E-2C Hawkeyes, SH-53 Sikorsky's and more. Plus the carrier crew equip the aircraft with the Mach 4+ AIM-54A Phoenix missiles, AIM-9 Sidwinders and AIM-7 Sparrows for air combat. Great stuff!

Overall the quality of the DVD movie is fairly decent and played well on my 55" big screen and my 27" small screen TV's. If you haven't seen the film, it's similar to "The Philadelphia Experiment" with Michael Pare and Nancy Allen. Enjoy!!

No, not the album by "Europe"
I first saw this on ABC as a kid, and loved it. Seeing it again now, at 31, I don't find it nearly as interesting but still think it's a fine film. Check out how much young Martin Sheen looks like Charlie Sheen! Watch James Farentino, the TV version of Roy Scheider! And don't miss the surprise ending!

Cinematic experience that will stand its ground...
The USS Nimitz, a nuclear aircraft carrier, is on a routine assignment when the civilian systems specialist Warren Lasky (Martin Sheen) is flown to the aircraft carrier. Lasky's job is to evaluate the efficiency of the commander and crew as he should make recommendations in regards to what changes can be done to save tax dollars. Soon after Lasky's arrival Captain Matthew Yelland (Kirk Douglas) is put in a difficult position as the USS Nimitz is pulled into an outlandish electrical storm that relocates the warship in time. Captain Yelland is unsure about what truly has happened, but when they discover that they are in between the Japanese Naval Force that is about to strike at Pearl Harbor on December 6, 1941 they realize they might have a chance to undo history. Final Countdown is an interesting science fiction film that offers some room for thinking, yet it is entertaining as it displays the incredible event of time traveling. An appealing idea together with entertainment, Final Countdown offers a decent cinematic experience, which will stand its ground.

Excellent. Aviation fans take note...
Since so many reviews are already posted, I'll keep this brief. It's nice to see this film get such an excellent DVD release. This movie is great and has aged quite well. The premise of the Nimitz being thrown back into time and given the opportunity to change the course of world history is an intriuging one even today. The Final Countdown boasts some ofthe best aircraft footage ever caught on film, hollywood or documentary. The scene between the Jolly Rogers F-14's and the 2 Japanese Zero fighters is a timeless classic.

The sound is excellent, the transfer is quite good, and the 2 disc set includes very special bonuses for fans of the F-14, or aviation in general. And the bonus disc interviews the Jolly Rogers squadron that flew in the film, worth it if you are an avaiation fan. If not, you might still enjoy it anyways, as they certainly have an entertaining story about one of the cast members! ... Read more

Reviews (257)

Volume 2 Delivers The Goods (4 Stars)
Kill Bill Vol. 1 might have been action driven and fast paced, but Vol. 2 was not. The slower pace made room for better focus on dialogue though. There are still great fight scenes, but not as many as there were in the first movie. Tarantino hit his stride with this movie. Die hard fans should go out and see it. The movie is two and a half hours long, but it's totally worth sitting through. There are great new characters (most notably Pei Mei) and it does a great job of filling in the holes that were left in Vol. 1(like Uma's screen name). Memorable scenes would be Uma Thurman being buried alive and her fight with Elle Driver in the trailer home. Easily one of the best fight scenes ever. Then there's Bill, played by David Carradine. He was probably the most engaging character in the whole movie. While I was disappointed in the way he died, it totally made sense. Overall, Kill Bill Vol. 2 definitely meets all expectations with its great dialogue and awesome fight scenes. Be warned though, the fight scenes aren't as fast and furious as the first movie. Nor are there as many. But that's not bad because it plays to Tarantino's strength: dialogue. If you liked Vol. 1 or if you're into karate flicks, you'll love Vol. 2. But if you didn't like Vol. 1, you'll like Vol. 2 even less.

Better than Vol. 1
If cinema is ever in need of edgy freshness, then Charlie Kaufman is the man to turn to. But when that need arises and has to be fused with humorously offbeat style then Quentin Tarantino is the Kaufman of directors. Or is Kaufman really the Tarantino of aspiring writers? It doesn't matter. In any case, what truly matters is that Tarantino continues to inject that richly abnormal talent of his into his latest piece "Kill Bill: Volume 2."

Four years after being betrayed by her former boss Bill (David Carradine) and shot in the head at her wedding, The Bride (Uma Thurman) wakes up from her coma and thirsts for revenge. After dispatching Vernita Green (Vivica A. Fox) and O-Ren (Lucy Liu) in "Volume 1," this previously retired assassin is back in "Volume 2" to finish off the rest of Bill's Deadly Viper Assassination Squad and ultimately, kill Bill.

"Volume 2" is definitely the heart of the two movies. Saturated with intense fighting scenes "Volume 1" ended with a bitter sweetness as The Bride seemed completely undeveloped as a character. But "Volume 2" complements the first movie nicely as the action takes the passenger seat and Tarantino concentrates on storytelling, fleshing out The Bride's character. There's actually emotional depth involved now, revealing The Bride's relationship with Bill as well as her motives for leaving an assassin's life.

Thurman is wonderful as The Bride, playing along with Tarantino's take on Hollywood cheesiness to executing some intense dialogue scenes that transition between emotions within seconds. Tarantino is obviously extracting all the skills he can from Thurman, and the end result is worth every squeeze: she pulls off acrobatic feats and heavy dialogue in the same two hours with seamless changeovers.

Carradine also does such a marvelous job of portraying Bill to the point that it becomes frightening. Carradine's subtleties are what form this character and by the end of it all it becomes clear just how insane of a character Bill is: he philosophizes about death while making sandwiches and questions past relationships with a menacing sword in hand. The low and relaxed tone that he carries through the movie makes it feel like Carradine isn't even playing anyone, he's just slipping this character on like an old, comfortable shirt.

But it's not just the characters that make Kill Bill so special. The first installment is wonderful in paying tribute to Japanese anime, folksy spaghetti westerns and an overall homage to "old school" Asian kung fu flicks. Tarantino again draws various sources from 70's pop culture to showcase the quirks of "Volume 2." Whereas the first movie displays Tarantino's knowledge of Asian cinema with wire-wearing kung fu, with unrealistic squirting samurai-movie colored blood included, "Volume 2" solidifies that homage to the full extent.

Perhaps the single greatest movie moment of 2004 is in "The Cruel Tutelage of Pai Mei," the film's chapter in which the origin of The Bride's abilities is discovered. Tarantino brings out all the stops on this one. From the stereotyped supercilious personality to the superficial white facial hair, the character of kung fu master Pai Mei (Gordon Liu) is the absolute embodiment of a 70's Chinese kung fu flick. After this scene, it's obvious that Tarantino is on the edge of oddball insanity, right there with brilliance on the other side.

Like the chapter of Pai Mei, the rest of Tarantino's film combines everything campy and corny with his bizarre sense of direction. And everything rationally ridiculous here somehow ends up as abnormally gorgeous.

Superb second chapter
A radiant bride-to-be (and mother-to-be) who calls herself Arlene takes a few minutes out of her wedding rehearsal to talk to her former boss (and ex-lover) about the peaceful new life she's planned. She tells him she'll be working in a record store where she'll get to "listen to music all day, talk about music all day. It's really cool. It's going to be a great environment for my little girl to grow up in."

"As opposed to jetting around the world, killing human beings, collecting vast sums of money?" her one-time employer asks.

Yes, Arlene is actually The Bride (Uma Thurman), a.k.a. Black Mamba, one of the Deadly Vipers Assassination Squad (D.I.V.A.S., for short). And, yes, the man with whom she's sharing her future plans is Bill, the enigmatic, shadowy D.I.V.A.S. commander who never showed his face in "Kill Bill, Vol. 1."

Bill, played to diabolical perfection by David Carradine, is visible throughout "Kill Bill, Vol. 2," and that's only one of the many changes between the first and last installments of writer-director Quentin Tarantino's epic saga of revenge and retribution. "Vol. 1," which took place largely in Japan, was a magnificently gory, almost operatic homage to the Hong Kong and Japanese cinema of the 1960s and 1970s; "Vol. 2," set primarily in Texas and Mexico, is considerably more controlled -- although no less stylish -- and moodier, paying tribute to the unconventional Westerns of director Sergio Leone and, in its black-and-white flashback sequences, recalling such late-1940s/early-1950s thrillers as "Gun Crazy" and "The Big Heat."

No one ever accused Tarantino of being shy when it comes to laying out his catalog of influences.

Cinematographer Robert Richardson's all-seeing camera swoops, slithers and moves stealthily around each scene, just like our unstoppable heroine, then throws in some extreme close-ups that feel like a fist between the eyes. Editor Sally Menke and production designers David Wasco and Cao Jui Ping do wonderful work as they recreate everything from "In Cold Blood" to the washed-out-looking, jumpy Chinese chop-socky films of the 1970s.

But far from being merely imitative, "Vol. 2" features a few breakthroughs for its creator as well. A prolonged sequence involving a character who is pummeled, drugged and buried alive is one of the most gripping episodes of Tarantino's career, and The Bride's apprenticeship to merciless martial arts master Pai Mei (Gordon Liu), a deceptively wispy-looking type with a strong chauvinistic streak, is outrageously hilarious. "Your so-called kung fu is really quite pathetic," Pai Mei taunts as The Bride tries -- and fails -- to impress him with her moves. "Like all Yankee women, all you can do is order in restaurants and spend a man's money!"

The finale of "Vol. 1" was a blood-drenched, wickedly hilarious free-for-all, with The Bride dispatching scores of would-be hitmen in a showdown in a Tokyo nightclub, but the last half-hour of "Vol. 2" is a shocker of an entirely different kind, as Tarantino aims for the heart instead of the funnybone. He tried something somewhat similar in the bittersweet wrap-up of "Jackie Brown," with mixed results. He's much more successful this time out, partly because he's created a steadier build-up to the crucial emotional crescendo (set to a marvelously trippy remix of The Zombies' "She's Not There") and partly because the tension Carradine and Thurman generate in the pivotal scene, as bloodlust collides with memories of happier days, is utterly riveting.

Tarantino's cast fills out a classic rogues' gallery, dominated by Carradine's Bill, a psychotic who conceals his sadism beneath a calm, paternalistic exterior. Daryl Hannah's one-eyed Elle Driver and Michael Madsen's Budd, both of whom were briefly seen in "Vol. 1," get ample opportunity to prove their worth as antagonists of The Bride. The face-off with Elle, in particular, is so delightfully demented only Tarantino could have conjured it up.

Was the director wise in turning "Bill" into a double-bill? Absolutely. For one thing, he must have realized he had made an extravaganza that would have been too intense and certainly too emotionally exhausting for most audiences to process in a single four-hour sitting. Also, he obviously knew he had a second half that would be well worth the six-month wait.

"Gargantuan -- always liked that word; so rarely have a chance to use it in a sentence," the icy-hearted Elle murmurs at one point. Try this on for size: The frenzied, funny and unabashedly ultraviolent "Kill Bill" saga represents a gargantuan achievement in action cinema.

Can a movie possibly get any better than this?
First I'd like to say that Quentin Tarantino is the best film maker that ever lived period. I would say that KILL BILL VOL. 2 is the greatest film since Casablanca. This is by far my favorite of Quentin Tarantino's films. This is a must own Dvd. Buy this awesome mind-blowing classic movie today.

This movie should not be see by the stupid ones
YES YES MAN I THOUGT THAT THERE WAS NOT TOO MUCH STORY BEHIND THE 1ST VOL IT WAS GREAT BUT SOMETHING WAS MISSING IT WAS THE AWESOME STORY OF THE 2ND. IS LIKE WATCHING A SPAGHETI WESTERN BY SERGIO LEONE BUT BEING DRUNK.BUT STILL I DONT KNOW HOW SOME PEOPLE TALK SO MUCH CRAP ABOUT THE 2ND VOL.IS PROBABLY THAT THEY MISSED THE POINT THAT IS VERY SAD MAN.THAT'S WHY THIS MOVIE IS NOT SUITED FOR THE DUMBASSES.WHEN YOU SEE THIS VOL YOU WILL DEICIDE IF YOU ARE A TRUE TARANTINO FAN!!!! ... Read more

Description

This science fiction milestone from director Andrei Tarkovsky (Solaris) takes you into the Zone, a mysterious, guarded realm containing a mystical Room in which occupants' secret dreams come true. Stalker, a man able to lead others to this holy grail, escorts a writer and a scientist through this foreboding territory and confronts several unexpected challenges along the way. Based on the novel "Roadside Picnic" by Russian sci-fi writers Arkady and Boris Strugatsky. ... Read more

Reviews (94)

It's not just a movie but an emotional adventure.
There is a lot of different review here but everything is true because there is one more character of "Stalker" movie. It's You. The word "Stalker" is English but it's not just Tarkovsky's innovation. He used a Character from beautiful story of brothers Strugatsky. This masterpiece is done as a short excerpt from novel "Picnic at the roadside" (it's hoax!). Idea is that Stalker is professional illegal visitor to Zone for collecting and sale strange things. It's dangerous job because Zone is not predictable and Stalker must to STALK through area of unknown dangers. Strugatsky's Zone is a place of temporary stop of some aliens and it's result of littering. Zone by Tarkovsky is different one but he used the image of Stalker for few reasons: 1) story by Strugatsky is an action so it added ground and feeling of reality to movie; 2) it gives rise to feeling of possible mystification by Stalker so you can believe or not to reality of Zone; 3) it adds a feeling of reality to this psychological movie. Actually this movie is poetry of reality and reality of poetry at same time. You can love it or not but it's must see. Be ready to hard work.

My god this guy is amazing
When I slipped Andrei Tarkovsky's "Stalker" into my VCR I just layed back, openned up a bag of chips, and began contemplating the useless, insignificant quote left by some small time critic on the box: 'this film is the Slavic equvilant to David Lynch's "Eraserhead" (Who like that's a good comparison).'

But then, instead of turning out like some third-rate American make-no-sense paranoia noir, Tarkovsky's achievment is so ingenious, so visual, so relative, and so downright different that I was just blown away.

The film begins in stark black, white and brown colors. The look is so bleak that it looks faded and unfocused. Tarkovsky introduces us to a man desperate for color and beauty in a society that depraves him of such things. The smoke, rain and mud seem to forbid him to leave his home just as much as his own wife does. With this scene alone Tarkovsky has painted a finer picture of communist Russia than every film combined that has ever tried to capture the country's atmosphere and spirit (I'm largely speaking of American movies).

I could go on and on about this film, but I can't. I can't describe what you see, feel, and how it purminates in the mind. It goes so beyond anything that English or American 'Ambitious' epic films present. Films like "Apocalyse Now" and "Lawrence of Arabia" have a surface, but rarely a living indivualized heart underneath.

This is my first Tarkovsky film, and after watching just one, I have contemplated he is just as brilliant and highly cinema-vocabularic as Bergman, Godard, Ozu and Herzog (at his prime). After witnessing Tarkovsky's work, I have a newfound interest in Russian Cinema, and a newfound interest in Russia in general.
Watch this film, or any other Tarkovsky masterpieces, and I garuantee that the bag of chips will be just as untouched come the end as it was at the beginning.

Faithless world
First of all, do not watch this film if you have ADD. There are long, drawn out shots of fields, three men walking, and quirky discussions which many will find boring. I didn't. While this film is about many things at once, I found on reflection that (at least to me) "Stalker" is essentially about the ethical/non-ethical nature of notions like hope, redemption. The 'Zone' as it is termed is really a metaphor for what a human has to reach in his/her life to find metaphysical hope. In the end, that hope is judged (by the most likeable character out of the three) to be invalid, even morally wrong.

The meditative shots of fields alternate with shots of decay, destruction, and a "1984ish" state. These men remind one of some of Beckett's characters, behaving in absurd ways. But, perhaps the point is, this is an absurd world. A masterpiece that demands full attentiveness.

Tarkovsky's "Stalker" DVD released by RUSCICO
Artificial Eye's presentation of Stalker is a bit higgledy piggledy, with the extras scattered across two discs. Perhaps the best way to describe them is "before" and "after".
On the first, we are presented with the first part of the film along with an excerpt from Tarkovsky's diploma offering, The Steamroller And The Violin, Tarkovsky's biography, a Tarkovsy-esque meander through the house he lived in as a child and in-production shots, leaving the post-production interviews and other cast and crew biographies for the second disc.
Aside from the slight quirk of positioning, the presentation is excellent. The animated menus are engaging and easy to navigate, with a good size of print which doesn't leave you squinting around to find the subtitle menu.
The colour and clarity is excellent for a film of its age, with no obvious scratching. The sepia portion is richly coloured and the colour sequences also well realised.
The sound is available in the original mono and in Russian 5.1. Beware, these two representations are distinctly different in places. Perhaps most notable is on the train trip into the Zone, where the original version relies on the rhythmic "music" of the train, travelling over the tracks, to carry the viewer, while the 5.1 version overlays some of Artemyev's ambient music.
Occasionally the music in the 5.1 version seems overly loud and once or twice the sound is "cleaned up", losing some of Tarkovsky's original intention. The 5.1 version, I suspect, equates more closely to Artemyev's vision than that of Tarkovsky.
As regards the extras, they are few but enjoyable. The excerpt from his diploma film demonstrates how good Tarkovsky was, right from the outset of his career, and it is only a shame that there isn't more than the few minutes we get to see. With luck, Artificial Eye will release the full version at some point.
Tarkovsky's House is, in fact, a short film, entitled Memory, which intercuts sequences from Stalker's dream with Tarkovsky's derelict boyhood home. Shot in the style of the director himself, this is a poignant and thought-provoking sequence in its own right. There are just 10 production photographs here, with only one shot in colour.
The most interesting - and most sad - extras are the interviews with director of photography Knyazhinsky and production designer Saifiullin. The former, filmed in a care home, seems overcome with melancholy at the thought that so many of the cast and crew, who worked on the film, have since passed away - he, too, died not long after. His brief interview - at around five minutes in length - offers an insight into the area of Estonia, where most of the Zone shooting occured, explaining that much of the standing water used on the sets was present already and discussing how they used this to their advantage, but it is disturbing to watch somone who is so ill talk about things that he misses.
Saifullin's interview is much meatier, as he talks about the devastating loss of the first half of the film after negatives were spoiled a year into the shoot. He also reminisces about Tarkovsky's eye for detail - "He wanted to know the motivation of every flower" - and discusses his belief that elements of the Stalker character were based on himself. The only downside is that occasionally the subtitles slip into pidgen English, not so much that you lose the thread, though.
The cast and crew biographies are in a sensible typeface, so that you can read them from across the room - other DVD manufacturers please take note. Watch out, while you are reading them for Artemyev's, which contains a not-so-hidden feature of a 21 minute interview. Why Artificial Eye hasn't just packaged this to appear alongside the other interviews is beyond me, as it is a fascinating insight into the way that Tarkovsky viewed the scoring of his films. He was keen to use as little music as possible and had Artemyev reading dissertations before composing in order to achieve the right ambience for certain scenes. Also, squirrelled away in Artemyev's filmography, is a teaser for Solaris.
Overall, the DVD extras have been chosen well and genuinely add to the viewer's understanding of the film, without seeming contrived. It is just a shame that some of them are so hard to find.

P.S. To watch the movie preview video clip you can on russianDVD.com website for free.

A Pilgrimage ...
Stalker takes place in an unknown worldly region in a post-apocalyptic future where a meteor's impact has formed a puzzling area called the Zone. The Zone is suppose to have mythical properties as it has forces that can lure people to their demise, but also uncover our deepest desires. Stalkers are the only ones who can sense mysterious forces and avoid the dangers within the Zone. Many courageous people come to the Zone with stalkers as guides on quests to fulfill their wishes. In this film the audience is to follow three characters, Stalker, Writer, and Scientist, as they venture into the perilous Zone. The party's venture becomes a breathtaking journey through armed guards, obscure traps, and psychological horror. The journey can symbolically be interpreted as a pilgrimage in order to restore ones faith and hope, which have been lost. This pilgrimage develops into a psychosocial battle between rationalism and abstract thought as the travelers attempt to reason with hope, faith, and love. Tarkovsky brilliantly blends his philosophical messages with visually stunning cinematography that encourages thought and analytical growth in a science fiction story that provides an enlightening cinematic experience. ... Read more

Reviews (199)

Probably the best movie about loving the movies
Rightfully known as a movie for people who love the movies, "Cinema Paradiso" ("Nuovo cinema Paradiso") is Giuseppe Tornatore's 1988 memoir of growing up in a small Sicilian town. A famous film director returns home for the first time in years to attend the funeral of an old man, but this bit of foreshadowing hardly prepares us for the depth of the tale. For the young Salvatore who is called Toto (Salvatore Cascio), the center of the universe is the local cinema and its projectionist Alfredo (Philippe Noiret). When we first see them together in the projection booth, Alfredo is editing out the kissing and other inappropriate scenes from a new film under the supervision of the local priest, Father Adelfio (Leopoldo Trieste) who rings a bell every time he finds something objectionable. The good father rings the bell a lot, to the dismay of the local citizens who bemoan the fact they have never seen a kiss on screen. Unlike most films featuring the cute kid and the grumpy old man, "Cinema Paradiso" presents the odd couple as kindred spirits from the very start. They both love the same thing: the movies. Even when the adolescent Salvatore (Marco Leonardi) discovers something else to love besides the movies in the form of a young woman named Elena (Agnese Nano), he is equally devote in his new obsession, standing outside her window for days in the pouring rain to impress her. Of course Salvatore loves not only the Cinema house but Alfredo as well, and when tragedy befalls them both he has to take his place in a new world while hanging on to the old. Finally, Alfredo has to kick Salvatore out of the nest and send him off into the world with the warning never to come back, because Salvatore's dreams will never be realized in the town of his birth. "Cinema Paradiso" is a film that captures both the pain as well as the joy of remembering the past. When the grown Salvatore (Jacques Perrin) opens up the gift left to him by the man who was much more than his father figure, we know immediately exactly what he has received. But that knowledge does not attract from the emotional impact of that glorious final montage.

One of the Best Films of the Last 20 Years
Guiseppe Tornatore's masterpiece proves for once, and for all, that you can indeed go home again. "Cinema Paradiso" is a timeless tribute to family, friendship and love as seen through the eyes of Toto, a filmmaker, who abandons his small town roots in search of that elusive "something more" in life. In a truly universal manner, Toto experiences success, failure, love and emptiness prior to the film's beautiful finale in which life's true meaning becomes clear to him. The childhood relationship between Toto and his father figure Alfredo, a projectionest at the local cinema, is the centerpiece of the film. Their ensuing lifelong friendship is simply priceless. The legendary Ennio Morricone's unforgettable score provides the perfect emotional backdrop . Overall, "Cinema Paradiso" is a stunning film that works on all levels. A word of warning: even the most macho of all macho will have trouble holding back tears during the film's remarkable final 15 minutes. Not to be missed!

Only one word that pops out when watching this: NOSTALGIA!!!
To make it short, this is the one and only movie that makes me cry every time I watch it. It's the kind of movie that melts your heart and keeps you thinking about it for days ahead. Also, I've never heard a soundtrack as beautiful as the one in this movie. It only helps bring out your tears more easily, especially in the last sequence.

A passion for film and filmmaking
I have not seen the "new Director's cut" version, and based on what the other reviewers have been saying, I'm so very glad. This movie has always had a special place in my film heart.

The theme of love has never really been so subtly and wonderfully dramatized. And the love is on so many levels: love for the opposite sex, love for filmmaking, love for family, love for one's hometown, etc. The plot is deceivingly simple and traditional but there are elements that are very unique. What particularly appeals to me isn't just the developing relationships among the main characters, but the relationships going on among the townsfolk. The extras are not anonymous here: all the patrons of the Cinema Paradiso have a slim storyline that are quite amusing. (In one sequence, a young couple are kissing. Next time we see them they're doing something more than just kissing. By the end of the film, they have a family in tow.)

Anyway, the story aside, CINEMA PARADISO is so gorgeously filmed, it's so pleasing to the eye that it's almost unbearable. This is a film for lovers of film and filmmaking.

Stay away from the director's cut
Cinema Paradiso is one of my favorite movies ever. This review is about the director's cut, it just ruins the whole movie. If you loved the original movie, don't watch this new version.

Cinema Paradiso is mainly a love story. But it's not about the relationship between Toto and Elena, it's about the relationship between Toto and Alfredo. The new version turns the whole move upside down. Not only the plot, but the characters too. Elena becomes the most important part of the story. And the character of Alfredo becomes a completely different person through the eyes of Toto. I don't want to give away anything about the "new" plot. But believe me, the director's cut and it's brand new 51 minutes changes the whole movie into -what a critic said, "mundane soup opera." ... Read more

Reviews (61)

The Sex Pistols
I truly enjoyed this film. I first heard the Sex Pistols a few years ago becuase my best friend is obssesed with them. If you enjoy the Sex Pistols then you will enjoy this film. It is a movie for fans really, it would not be a good introduction to the band. Or if you enjoy punk rock but haven't heard the Sex Pistols then this would be good. The accents are difficult to follow occasionally but in general it flows well.
Some of the best parts of this movie are the live concert footage. I've not seen many good representations of punk shows on film and these all were excellent. I also like how much time was spent showing the audience, each of them as individuals. I just loved seeing all the kids out there with their mohawks and leather. Its really very much a documentary of the rise of the youth culture in Britan. Punk is a culture within itself and this film documents that rise in England. Also the audience is always being shown as nice, not as scary people like punks are often shown. It sends a message that the punk youth culture is not a bad group of people. The movie gives a very positive image of the youth culture becuase mostly only the band is outrageous.
I feel the film really captures the realities of teenage youth culture as a punk in England in the late 70's. The movie is still relevant today becuase the culture is still thriving tody and its a documentary of its roots. Its an excellent film that anyone with an appreciation for punk culture will enjoy.

Whether you like The Sex Pistols or not...
...The Filth and the Fury is an amazing documentary, and is as good an account of the rise of punk music as it is of the social and political landscape of England in the 70's.

Every aspect of the 26 month long Sex Pistol phenomenon is covered. From the birth of the band, through their most imfamous escapades, to the tragedy that came to be with Sid and Nancy. Band interviews, live footage, news coverage, it's all here! A ton of Sex Pistol info and documentation.

The DVD also contains a bonus documentary about the birth of punk music in general. Made up of interviews with everybody and anybody in and about the punk music circle, it was a nice surprise when I was done watching the main feature.

BOTTOM LINE: If you like the Sex Pistols and think you know everything about them, think again. This film will open your eyes to some great little known facts about the band. Buy the DVD if you haven't already. If you're interested in punk music in general, I also recommend this film, as it has as much to share about the style of music as it does specifically with the Sex Pistols. THUMBS UP!

Get down and dirty
It's not immediately apparent where Punk stands in historical terms. There were only a handful of great bands, the music was rarely memorable, and the whole thing (the real thing I mean, not the post-punk posing) was practically over within four years. Compared with the sixties, when the pop movement encompassed a revolution in sexual habits, drug-taking, fashion, music, film, civil rights, concepts of individuality and community, and even took on and managed to end a major war, it looks like Punk was just one of a number of notable ripples (another being Red Brigades-style terrorism) which extended outwards after 1969.

But ripple or not, it had a bigger cultural impact than anything else on my teenage years: I clearly remember in 1978 a friend pulling out his latest purchase, a record called "Never Mind the Bollocks" and how completely staggered I felt when I looked at this luminous urine-yellow cover, took in the ransom-note font and then heard the noise - I couldn't comprehend it as music at first - of the first few tracks. These bits of vinyl and card seemed at the time as dangerous a thing as a shipment of heroin.

Basically I and most of Britain was in a daze when the Pistols appeared. The sixties had been a huge upheaval, but the energy seemed to dissipate as rapidly as it had appeared. By 1974 the oil embargo, massive inflation, strikes, terrorism, pomp rock, et. al. had all but crushed the mod movement and the airwaves were jammed with coma-inducing pop like the Bay City Rollers and Abba. Moreover, the "establishment", that is the traditional structures of power, having been battered halfway to oblivion in the sixties, were gradually and rather insidiously reasserting themselves.

What this film captures is the electrifying effect the Pistols had on a country that had become complacent in its own dismalness. The famous Grundy interview is as notable now for the toe-curling triteness of daytime TV of that time as for the naughtiness of the Pistols. Footage of the housing estates from whence the group emerged reveals the brutal starkness of urban working-class Britain. With the rubbish piling up on the streets thanks to another strike and utter shabbiness seemingly everywhere, there's a strong impression of a country at the nadir of a massive multi-year hangover. The Pistols woke the country up like an exploding alarm clock, caused an outcry that seems almost funny in retrospect, and made flares, permed hair on males and Emerson Lake and Palmer utterly unfashionable for a couple of decades.

On a more serious note, it is also worth considering that Punk probably helped Mrs. Thatcher get elected in 1979. Much of the population was shocked into believing that a strong law and order Government was the only hope for Britain. So perhaps a bit more than just a historical ripple, albeit in a very ironic manner?

As for the Pistols themselves, it is not hard to see why they only lasted a couple of years: they are the (mostly) living proof that anarchy is great in theory but hard to sustain in practice. There is a lot of bitching between the boys twenty-plus years on, and while most other reviewers seem to have found Rotten inspirational, I thought he was full of s***, moaning about just about everything including bizarre things such as once having had to stay in a motel. Apparently blind to irony, he even at one point launches a heartfelt attack on the people he considers let Sid down: "they had no respect" he wails.

Good film of a fascinating time with well-chosen footage, witty asides (nice idea to compare the Pistols with Richard III), wild music and interesting interviews. My only complaint is that it was difficult to work out who was talking in the voiceovers and not always easy to hear them either.

Never Mind Anything Here's the Sex Pistols
Somewhere in a Snow-White-and-the-Seven-Dwarfs suburbs a soccer mom just unloaded her brood for the match after the Soccer-mom 7-3 shift at the office and now has to go home help the digital-literate Nascar dad with the dinner and hope that the kids are home and the plates are in the dishwasher in time for American Idull, only to find a friend of a friend's copy of The Filth and the Fury laying about, daring you to pop it in the player and find out what rock'n roll was meant to be about before she swoon's to another syrup drip balladeer over-singing supper club karoake standards. Maybe it would be of interest to the aspiring American consumer stereotypes that much of Simon Cowell's ubersnob delivery can be attributed to Pistol's head snarler Johnny Rotten. Their curiosity peaked, they drop it in and discover the Amercian consumer's lifestyle is under bombardment, even though the Filth's recollecting anti- establishment and chaos in the 70's.
Remarkably, one of the instant revelatory moments in this film is how up to date the Pistols look compared to the ridiculously vomitous slabs of polyesteryear fashions their supposedly hip hosts were wearing during the old interview clips. What's more, this is exactly what Lydon (Rotten) hates the most about the Pistols legacy: the mall culture they so deplored finds "punk fashion" cool and watered it down to flavorless damp 4/4-time whining while doing nothing to deconstruct the world into a better place. This is also where the Pistols couldn't last. They were too messed up to fix a world they wanted to destroy. Rotten remains gloriously disgusted throughout the film often leaving your Mom and Dad (who grew up familiar with the Pistols and continously failing to understand them) wondering why he's still in it (to give bollocky pissoff to mums and dads of course).
The other Pistols will continue to provide vigor towards their old antics in rollickingly funny interviews. The serious viewer will understand that Chaos was their goal and not making punk fashionable. And if the soccer mom and Nextel Cup Pops take a second or two to think about how this film and the Chaos that was the Pistols' true legacy are meant to affect them..just imagine..perhaps the world may be a little more dangerous, but it won't be boring and we won't feel cheated.

"drunken prophecies, libels and dreams"
Wow. The Sex Pistols? Never heard a more perfect name for a band. Immediately conjures up all sorts of images. Then seeing photographs of the band and the environment they spawned: like walking into a cultural junk shop and finding some wild, interesting things. Then you hear the music, and you KNOW that things will be all right. The documentary was like watching a wildly painted, gravelly sounding, busted-up auto running laps around the neighborhood grandstand. I sat on the couch, popcorn and soda handy - and watched this documentary twice in one night.

Memories of this sort are like a giant bonfire that everyone throws logs on to keep it going. For the first time, the Pistols toss there own logs onto the fire. Just the thought of the backdrops, colors and possibilities attached to that time and place are wondrous enough. It seemed so open, raunchy and ugly that you can run a million scenarios in your head and still have room for more. The Sex Pistols were at the apex of all this: an accident, a force of nature.

The title alone, THE FILTH AND THE FURY, suggests so much about what you are about to experience. You are told a story in a chaotic manner, images hurled at you - grainy, black and white concert footage; crazy, young English kids acting like they just don't care; seedy bars, streets and garbage dumps; representatives of various government, media and church organizations. Lots of news reels and garish lights. The surviving band members tell their own versions of what happened; their faces cast in shadow to keep you carefully tuned in to the images of the time period. Essentially a history lesson taught by the people who created, and were created by, the moment. I thought it was well done - but left me wanting more. But that was OK, too. Their career was so abrupt, 26 months from start to end - which I think has much to do with interest in them to this day.

"High drama" as John Lydon describes it - is exactly it. Everything suggested by the Sex Pistols, all the random images and brilliant simplicity of the music just feeds the imagination. You can't create that kind of magic with high gloss and untouchable superstars. For my money, Steve Jones was the best interview in the whole thing. The guy is hilarious! He seems like someone you'd hang out with for hours and hours at a bar, drinking beers and exchanging war stories. The commentary by Julien Temple is extremely dull and doesn't add much. The other punk documentary, if it serves any purpose at all, illustrates where they could have gone wrong in the making of THE FILTH AND THE FURY. So, you may want to rent first, but you'll probably want to pick up a copy for yourself. It doesn't wear thin with repeat viewings. ... Read more

Reviews (557)

Powerhouse film will enhance your DVD collection
I will admit to being a huge fan of Pulp Fiction from my first 10 minutes into the theater and getting yanked by my shirt colllar into the story and not being released until the final credit rolled. OK, so I'm biased.

BUT...it's not without well-earned bias. This movie easily qualified as an instant classic. The story is top notch, even though it comes in several different, smaller packages, Tarantino earns his directing stripes in effortlessly taking these seemingly random tales and believably weaving them all together. The acting/casting doesn't leave any stone unturned (It's Uma Thurman's best performance to date, Samuel Jackson WAS the best supporting actor winner that year, even if they didn't give him the trophy. Even Willis demonstrates some wicked acting chops in a beautifully understated performance. Christopher Walken, too, provides the most satisfying and memorable cameo!), and even the choppy editing style works.

Casual movie lovers will enjoy this as just a great film. Movie fanatics will love this DVD for the satisfying extras it provides.

Too good a DVD for you to pass up!

"Saved by a miracle of God..."
You know what, some people say that this movie sucks because it is way too hard to follow in story. I don't believe a word of that. The first time I watched the movie I wasn't a bit confused about this movie's un-cohesive plot.

This movie is reminiscent of the Pulp comics and magazines from yester-year, with it's high octane violence, graphic depiction of drugs, and of course...sex.

What I personally liked about Pulp was that characters can enter or exit the movie at anytime without much explanation. One minute you see John Travolta...next minute he is blown to bits by a M-16 machine gun. No questions asked.

Quentin definitely establishes that he knows what he doing, with unique camera angles, sparkling script, and wonderful acting...some of it done by the master himself!

I reccomend anyone watch this movie. It's completely awesome if you can handle the content.

oh yeah. "saved by a miracle of God" refers to a memorable line by Samuel L Jackson who plays a hitman that is convinced that the reason he survived near death is beacuse God's mighty hand came down and stopped the bullets. He soon quits his profession while on the other hand John Travolta stays...and we all know what happens to him! heh heh heh heh heh heh

Quentin Tarantino's best before Kill Bill
This classic by Quentin Tarantino was the first ultra-violent movie and it was fantastically well executed. An American Independent movie at its best.

The Most Fun You'll Have Watching A Movie!!
From the beginning five minutes of two people planning on holding up a diner, you know you're in for some fun. This is Pulp Fiction, Quentin Tarantino's undisputed masterpiece. Simply put, a genius rollercoast ride from beginning to end. With a large list of stars, including Samuel L. Jackson, John Travolta, Christopher Walken, Bruce Willis and Uma Thurman in some of their greatest performances to date.

The movie is broken up into three stories, all revolving around two hitmen (Jackson, Travolta), a mob boss's wife (Thurman), a boxer planing on retiring (Willis), and a mysterious breifcase, this fast paced film is probably one of the greatest action films EVER. The dialogue is what you would expect from Tarantino, with plenty of funny but memorable lines that you will remember forever.

With a die-hard cast, a chaotic but focused storyline, and an unbelievable soundtrack, including the classic "Miserlou" by Dick Dale and the Del-Tones, this film is definately Tarantino's funniest, most violent, and most fun romp to date, and one of the top ten greatest films ever! See it and you will not regret it.

awsome
this is one of the must see crime movies. very funny and never dull. great acting. not actually that hard to follow like some reviewers say. there are not that many jumps between time. the dvd is great. ... Read more

Amazon.com essential video

The audacious concert film Eddie Murphy Raw rubbed some people the wrong way upon its release in 1987, but there's no denying that between Murphy's more insensitive bits about women and gay men is some of his most inspired material. While the young comedian indulges an unattractive homophobia and rants about the sexual manipulativeness of all females, he makes up for it with an amazing story about being chided by Bill Cosby for obscene humor and does a great impression of Mr. T falling under the spell of a Jedi mind trick. The best stuff comes deep into the show, particularly a long tale of being pressured into a fight at a club, resulting in a phone call to Murphy's drunk father, the latter in the middle of a verbal attack on his wife. The scene is genuinely horrifying and funny, testament to Murphy's early reputation as heir to Richard Pryor's mercilessly autobiographical brilliance. --Tom Keogh ... Read more

Reviews (47)

Stand-Up Comedy At Its' Best
In the same tradition of raunchy stand up comedy kings such as Richard Pryor and Red Foxx, Eddie Murphy's comedy pokes fun at many groups and celebrities. Filmed at the height of Eddie's status as the world's biggest film star (while on contract with Paramount), "Raw" is an hour and a half of hysterical impersonations and skits.

Written by comedy star/director Keenan Ivory Wayans ("Scary Movie"; "I'm Gonna Git You Sucka"; television's "In Living Color") and directed by Robert Townsend ("Meteor Man"; "Hollywood Shuffle"), Raw's highlights include Eddie's trip to San Francisco (where he is greeted at the aiport by flamboyant gay men), his trouble with women, and celebrity put downs.

The most memorable skit in this film probably has to be Eddie's imaginary wedding to an African tribal woman who gets corrupted by American women upon her arrival to the U.S. "Unfoofoo" (his African wife's name) and Eddie's discussion of how he met her made me laugh out loud. Truly, only a comedy genius could have thought of such a funny skit.

Although not a film for young kids due to its' use of foul language and discussion of sexual situations, the film showcased Murphy at his best, long before his string of family oriented films ("Dr. Doolittle" "Nutty Professor"). While there is a new king when it comes to raunchy comedy nowadays (Chris Rock) Eddie still remains one of the best. "Raw" is a showcase of great comedic writing and performance.

Four -and-a-"HALF!" stars
The year was 1987 and after been widely known for his classic "Delirious" stand-up act and Beverly Hills Cop movies, Eddie Murphy comes to New York City to perform his latest act in this feature called "Raw". If you were laughing at the jokes from "Delirious", then chances are that you were rolling on floor in laughter when you watched this.

Before the performance is a Keenan Ivory Wayans-produced sketch where it shows Eddie as a kid (played by Deion Richmond [Kenny on "The Cosby Show"]) telling a nasty joke in front of his family, which sets the tone of what his act will be: funny but in bad taste. If you look closer, his family members consist of other people who weren't famous yet like Tatyana Ali ("The Fresh Prince of Bel-Air") and Samuel L. Jackson.

Now, on to the act (directed by Robert Townsend, I might add). Though he does less impressions of stars than he did in "Delirious", it is still hilarious to see him do a fed-up Michael Jackson, a scolding Bill Cosby, and a dead-on impression of Richard Pryor, his idol. The audience is noticeably having a good time and even catches Eddie cracking himself up when he talks about getting arrested by a certain type of police.

In this day and age when African-American comedians' whole routine is usually about how black folks are different from white folks, you wonder if they ever studied Eddie Murphy's monologues, because Murphy had a LOT more to speak on. See the discussion on prenuptial agreement: if you (the man) don't get one with your wife, when it's time for your divorce, she'll ask for "HALF!" of your money. Of course that comes off as misogynistic and derogatory, but it's just comedy, not necessarily commentary.

You'll bust a gut laughing at Oomfufu, Eddie's pretend wife; his mama's hamburger that's "better than McDonald's"; and his reenactment of a fight that happened in a club. His funniest jokes, however, revolve around how the audience members' reactions might be: for example, when he suggests that women would rather be alone with her man instead of seeing this show, a woman would say, "That's true! [Eddie's] funny, but he ain't that funny!"

I knocked off a half-a-star because the bit about his drunk father, first introduced in "Delirious", ran too long. But that doesn't make "Raw" any less of a classic. If you've been living under a rock up until now, see this film today.

Eddie Murphay At His Best
This is one the all time greatest Stand up performances ever. The Title "Raw" says it all. This is Eddie Murphy at his best, raw and uncut. From his jokes about TV shows and its characters to childhood, cheating, divorce, Italians, and his belligerant father, you'll be laughing from start to finish. Its been 17 years and I still enjoy it as much as the first time I saw it. I could go on for days about this film, but it's far better than words can describe. Seeing is definately believing. From the Richard Pryors and Red Foxxes to The Chris Rock's, Bernie Mac's and Dave Chapelle's ... "Eddie Murphy Raw" is the undisputed King of Comedy!!!

he gets away with it!!!!
This has got to be the most unbearably crude, politically incorrect comedy routine ever - and he pulls it off, with real style!!! OK, it is somewhat dated, coming from the 80s, but this man has got to be one of the funniest comedians since Bill Cosby. They are both geniuses. But Murphy takes being black head on (head first?), as well as men-women, gays, you name. If you can stop laughing, there is something to offend EVERYONE. He is also a first rate actor/impersonator. Best I've seen in a long time = I am getting ready to return to the states, and this is the PERFECT preparation in the age of Bush II.

PAINFULLY FUNNY!!!!!
THIS IS ONE OF EDDIE'S BEST STAND UP MOVIES EVER I LOVE THIS I LOVE THE WHOLE VIDEO I LOVE IT. I LOVE EDDIE HE IS SO FUNNY IN THIS MOVIE HE WILL HAVE YOU CRYING HE IS SO FUNNY. EVERY SINGLE JOKE HE TELLS IN THIS MOVIE IS VERY FUNNY AND I LOVE IT THEREFORE, IF YOU ARE A FAN OF EDDIE MURPHY THEN YOU WOULD DEFINITELY ENJOY THIS MOVIE!!!! ... Read more

Amazon.com

Will Smith's easygoing charm makes Hitch the kind of pleasant, uplifting romantic comedy that you could recommend to almost anyone--especially if there's romance in the air. As suave Manhattan dating consultant Alex "Hitch" Hitchens, Smith plays up the smoother, sophisticated side of his established screen persona as he mentors a pudgy accountant (Kevin James) on the lessons of love. The joke, of course, is that Hitch's own love life is a mess, and as he coaches James toward romance with a rich, powerful, and seemingly inaccessible beauty named Allegra (Amber Valetta), he's trying too hard to impress a savvy gossip columnist (Eva Mendes) with whom he's fallen in love. Through mistaken identities and mismatched couples, director Andy Tennant brings the same light touch that made Drew Barrymore's Ever After so effortlessly engaging. As romantic comedies go, Hitch doesn't offer any big surprises, but as a date movie it gets the job done with amiable ease and style. --Jeff Shannon ... Read more

Reviews (71)

2.5 stars...what a waste
This is one of the most overhyped movies out there. I admit, this movie started of strong, but after the 1st hour or so...it just spiralled downhill.

It is about Alex Hitchens, this date doctor who basically helps big-hearted losers to get noticed by their dream girls. In his words, he creates the opportunity for them. One of these guys happens to be Albert who has a thing for Allegra, the rich and beautiful multi-millionaire. Meanwhile, Alex meets Sara who's a gossip columnist and sparks fly. What happens next? I'm sure anyone with a brain would know.

I have nothing against romantic comedies. The thing with this kind of movies is the story. We all know how it's gonna end, so the writers should thrill us with the ride there. A good romantic comedy should evoke some kind of emotions. Unfortunately, even with the talented cast they have here, it's all gone to waste with a lousy and utterly predictable script. The starting 10-15 minutes was great, and I was actually looking forward to the movie. Then Will Smith gave me laughs when trying to woo Sara, played by sexy Eva Mendes. But other than this, there's nothing else that entertained me. And most of the funny scenes are actually in the movie trailer.

Kevin James, who I really like in King Of Queens is underused here. And his chemistry with Allegra (played by Amber Valleta) seems kinda dead. He doesn't really seem that infatuated with her. Will Smith tries to salvage this movie for all he can, but there's just so much a guy can do. The second half of the movie really was pretty boring because of it's predictability and it seemed like I was watching a mixture of other romantic comedies (How to Lose A Guy in 10 Days and Notting Hill comes to mind).

This movie might be good to watch with your partner, but even then...just rent it, it's not worth buying. This movie fails because of the script, the actors bring all they can to their roles but it just isn't enough. If you want good romantic comedies, get Hugh Grant's movies...they're predictable of course but you'll have a hell of a good time watching the story unfold.

Will Smith as Cupid in Terrific Comedy...
Cupid flutters around spreading happiness with his arrows of love and affection.These arrows strike each target with one single attempt, as the person falls in love after the single moment when the arrow strikes them.Love changes everything, as it means commitment, trust, and mutual affection when the love is answered.Hitch (Will Smith) is the human cupid, as he works his magic as a partner consultant that helps men get noticed by the woman who is the target of their love.Everything around Hitch oozes of class as nothing is cheesy, cheap, or corrupt. He is a true gentleman that helps others find their opportunity with love by shooting his arrows of affection.

Hitch ended up becoming a love consultant due to an incident in college when he suffered from a broken heart.Now he focuses on helping guys like he once was, as he helps them strategize their upcoming encounters and dates.Carefully Hitch helps the men with how to approach the women, what to say, and how they must behave around the woman they love.Everything is thoroughly planned, as it all comes down to one moment - the first kiss.

When Hitch meets his freshest client Albert (Kevin James) he senses a disaster.The problems increase when he finds out that Albert loves Allegra Cole (Amber Valletta), a famous and incredibly rich woman.Nonetheless, Hitch believes that he can pull it off by creating a masterpiece.Simultaneously, he meets Sara (Eva Mendes), a relentless gossip columnist, with whom he falls in love.This affair turns into a greater mess than expected for Hitch who finds himself kicking women, having severe food allergies, while Sara finds it difficult to combine personal life and professional life.

Hitch is a warm comedy about love, affection, and the connection between people.Will Smith is perfect for the role as Hitch, as he easily drifts into the gentle and cool character.His performance is well balanced with the supporting cast, and Kevin James complements Will Smith by making the two look like contemporary Laurel and Hardy.In the end, Hitch will offer an easy comedy with some great laughs, but also an interesting notion in regards about the opportunity of love.

Great Romantic Comedy
Will Smith has so much charm and charisma; it's hard to understand why he hasn't been in more romantic comedy roles. In this movie, he plays Alex Hitchins, "Hitch", a date doctor who helps guys with two left feet shape up so that they can make a good impression on the women they want to win. It's a Cyrano story, but in this case the handsome man is supplying the smooth words and actions for the bumbling Romeos-to-be. Eva Mendes is smart and feisty as Sara, who is supposedly a predatory gossip columnist. The film has two (well, three) intersecting sub-plots; Hitch's attempt to help Albert (Kevin James) win the rich socialite of his dream, and Sara's pursuit of dirt on this sam