Reviews (20)

Hans Christian Andersen not quite, but very entertaining
Hans Christian Andersen (1805-75) was an Ugly Duckling. He lived in the third largest town Odense, in Denmark. The son of a cobbler he was poverty ridden and a failure as an actor and it wasn't until he moved to Copenhagen and won the patronage of Frederick VI, through his poetry, that he wrote his fairy tales and developed into a swan. Like many artists he wasn't particularly happy, and never did marry, although he was very fond of Jenny Lind (1820-87) the Swedish Nightingale a soprano given the name by P.T. Barnum during her tour of the United States between 1850-52.) Charles Vidor's film does state at the beginning, This is not the story of Hans Christian Andersen but a fairy tale about the great spinner of fairy tales. The Danes objected to the way Hans Christian Andersen was portrayed even though Goldwyn had rejected 21 previous manuscripts, so the film company inserted this statement in the credits.

Danny Kaye with his chiselled features does resemble H.C.Andersen when looking at his profile, but apart from this facial feature that's where it stops. Kaye had dark hair but Hollywood soon changed that and he became a blonde, Andersen also had dark hair but he kept it that way.

Unlike some earlier musicals, this film does have a strong story line with loads of songs written by "Baby, It's Cold Outside", Frank Loessen, such as Thumbelina, Ugly Duckling, No Two People, and of course Wonderful Copenhagen. The scenery is very clever, the backgrounds look like illustrations from fairy tale books, but as the camera zooms in to the foreground the buildings and props become three dimensional similar to a pop-up-book.

There are four ballet scenes that I probably found boring back in '52, but revisiting them now, they are visually very interesting, technically I wouldn't know if they are good or mediocre but for a Hollywood musical film, four ballets must of taken an enormous amount of consideration seeing as the film is really for kids. Once again the backdrops for the ballets also resemble fairy tale illustrations and pop-up-books.

Instead of a soprano, Andersen falls in love with a ballet dancer and here's a musical that doesn't have a very happy ending because poor Hans gets mixed up with a married woman. The ballet dancer Doro, is played by Zizi Jeanmaire, and is married to Niels played by Farley Granger. During the last part of the film, the audience is taken behind the scenes of the ballet company playing at the Royal Theater in Copenhagen, but this isn't a film of a show included in a show, similar to earlier musicals, but an uplifting musical film with lots of music with catchy tunes helped by a ton of children.

The last ballet scene takes 17 minutes, quite long for a popular movie. In the film Hans writes a story especially for his love Doro, unfortunately Niels locks him in a cupboard so Andersen never sees her perform but has to use his imagination.

The ballet takes place on land and under the ocean. The surface waves are pop-up so that the dancers can be seen dancing in between the swells, it's really very clever visually, and there's no trickery here. Under the sea filled with monsters and witches, the heroine is probably attached to a pulley so that she can be seen swimming for the surface. There are no blue screens in this film, all effects are up-front and work perfectly similar to a staged ballet. Once again the technicolor process is used and this enhances the fairy tale effect with vivid colors.

Hans Christian Andersen fairy stories are not violent when compared to the Grimm brothers, but the themes usually have a lesson, and in the story written for Doro's ballet, "The Little Mermaid," it is saying that aiming for the stars does not always bring happiness, but then of course Walt Disney hadn't yet arrived on the scene and he soon changed that philosophy.

A good kid's movie
HAns Christian andersen is a good movie. Andersen (Danny Kaye) is a cobbler who can't stop telling stories for the little kiddies. This gets him in trouble with the top bananas in town, who vote to have him run out for making kids miss school. Andersen moves to Copenhagen, falls in love with a beautiful french ballerina, and gets himself famous for his stories, all the while going from song to song with true Kaye spirit. It was a good movie, but not one to be overly thrilled about.

Delicious performer, wonderful introduction to ballet!
I fell hopelessly in love with Danny Kaye when I was 8 years old, and I'm still crazy about him many years later. . . no other performer of whom I'm aware has ever shown his unique combination of comic virtuousity, tenderness, silliness, physical bravado and dramatic depth.

He could also really sing, not just comically but straightforwardly, in his naturally rich, sweet lyric-tenor voice. If you really listen to the "Inchworm" song, you will hear just how fine his voice really was.

The ballet sequences in the movie transfixed me as an eight-year-old ballerina wannabe. Maybe they look hokey to present-day grownups, but I bet most kids would immediately understand.

One of the best movies ever!!!!

Correction
I'd just like to make a correction on another customer review that I read of this movie. This was not Danny Kaye's last movie. I don't know what was, but in 1954, he did "White Christmas" with Bing Crosby, Vera Ellen and Rosemary Clooney. It's not a really important thing, I suppose, but I just wanted to make sure that the information was correct.

Delightful Children's Musical
Danny Kaye plays the Danish cobbler-storyteller, Hans Christian Andersen. At the beginning he is said by the schoolmaster of the village of Odense he is causing trouble. The trouble is he tells stories to the village children, and they learn things like numbers falling in love and marrying each other. One town person said of his stories: They asked their daughter what time it was? She said "the minute and hour hands weren't speaking to each other. They were in love with the second hand. So they wouldn't make up until they met at 12 o' clock." After all the commotion with the village officials, Hans goes back to his cobbler shop. There his apprentice friend, Peter talks him into getting away from the village and going to Copenhagen.

Reluctant at first Hans agrees to go to Copenhagen with Peter. There Hans meets and falls in love with Doro (Jeanmarie), a beautiful French ballerina. But later learns that she is married to the demanding Niels (Farley Granger). Overwhelmed by his love for her, he is inspired to write, 'The Little Mermaid' for Doro. The story of the Little Mermaid, like Doro goes-that she looked for love from the wrong man. Hans becomes popular with the people of Copenhagen and his gift in telling stories to the children. So Andersen's fame grew out of his plays and stories. Some of the musical scores that stand out are the most known of Andersen's best loved works. Those most memorable numbers are from 'Inchworm,' 'Thumbelina' and 'The Ugly Duckling.' Hans later finds that the ballerina truly loves her husband, so Hans returns home to his village of Odense. There he tells his stories to the children who loves to hear his fairy tales. You may not find Kaye's usual comic flair here. He extends his more poignant side of the famous storyteller. This was Kaye's final film of his career beofre embarking on his life's love of working with Unicef. If you like to read about Andersen, he wrote his auto-bio, 'The Fairy Tale of My Life.' The film itself is a delightful children's story that the whole family can love. ... Read more

Reviews (183)

Unique & Different - A Campy Cult Classic
This is a differen't movie, from any other movie that I've ever seen. You could definately tell that Paul Verhoeven had more creative freedom, because of the big-budget, and the NC-17 rating which allows you to do basically anything you want.

I LOVED the dance sequences. All of the bright, big, and fancy dances and the over-the-top props and desings. Verhoeven did a good & effective job with the dance sequences. Elizabeth Berkley can't act, but she can dance. The dance at the Cheetah Club, where she dances to a Prince song, is pretty good. Kyle MacLachlan was worse than Elizabeth Berkley; Kyle just can't act anymore, although he was very good in "Blue Velvet". Gina Gershon pulled off "Cristal" very well. She was mean and sneaky. Elizabeth Berkley looks beautiful though. She has a very exotic face, and the differen't color eyes, makes her more mysterious. As a person who likes "Valley of the Dolls", I enjoyed the campy acting, and dialogue. So few movies are afraid to go down that road, that it's refreshing to see something differen't once in a while.

Three of my favorite scenes, are when Nomi does the gospel-singing disco dance sequence, and when she finally gets to rise out of that volcano, and the announcer says "Ladies and gentlemen, the stardust proudly presents Miss Nomi Malone!". And my third favorite scene is when Nomi and Jeff drive past the billboard with her face on it, and they drive off to L.A. with the Siouxsie and the Banshees music playing.

This movie isn't BAD, it is just too raunchy. The nude scenes and the dialogue from Henrietta Bazoom, are real raunchy. There is only 1 sex scene. I can definately see where people would be offended by Showgirls, but being offended doesn't make a movie bad. NC-17, means that only MATURE people should watch Showgirls because they can handle it, and that means that people who can't handle nudity shouldn't watch it.

I was shocked to see Jessie from "Saved by the Bell" doing lap-dancing, and pole-dancing.

Brilliantly Bad, Terrifically Terrible
As an avid fan of the wonderfully worthless "Valley of the Dolls", I thought I had seen the ultimate in the "so bad it's great" filmmaking genre. Then along came "Showgirls", which showed me just how wrong I was. Glory hallelujah, I have seen the light! Yes, friends, this is the most delightfully deplorable motion picture of all time.

As if Joe Eszterhas and Paul Verhoven (who apperantly have some SERIOUS issues with women) hadn't squeezed enough gratuitous nudity and sex in their thoroughly unenjoyable "Basic Instinct", they have topped themselves in one of only two movies ever to get an NC-17 rating ("Crash" is the other one, and it's actually pretty good). This perfectly pathetic film follows the adventures of Nomi Malone, a hot-headed drifter who hitches a ride to Vegas and becomes the biggest thing to hit the sex industry since former president Bill Clinton. Along the way, she'll throw many a hissy fit, befriend an angelic stripper, lock horns with a self-absorbed rival, avenge a brutal rape, and utter some of the worst lines of dialogue ever written for the silver screen. Former "Saved by the Bell" star Elizabeth Berkely plays Nomi like John Travolta played Terl; she overacts to the brink of Spontaneous Human Combustion, shouting the horrid dialogue at the top of her lungs, which surprizes me because they are buried under twin Everests of silicone. The other actors don't fare much better, partially because they are acting to the worst script ever, worse even than the plotline to the Carrot Top movie.

So why five stars? Because you'll love every minute of it. The film is howlingly hilarious, from the actors to the script to the dialogue. You'll be awestruck by the film's monumental depravity from beginning to end, and because the movie is 131 minutes long, you'll have plenty to savor. So put the popcorn on the stove, invite your closest friends, and enjoy the most deliciously detestable movie ever made. It's a guarenteed good time, and remember, this flick cost United Artists 40 million bucks. Oy!

Hea, we all know why we love this film
Let's all be honest with ourselves. This film is about Elizabeth Berkley and how gorgeous she was in the nude.

Eye candy
Showgirls is one one of the most universally panned movies of the nineties. Everybody hates it, or laughs at it.

Frankly, I don't know why. Or rather, I do know why, and it is not because it is bad. OK, granted, it is pretty bad when you consider some of the acting, and most of the story. But how many movies is this not true for? Certainly it is no worse than most action flicks, and you don't see Jean-Claude van Damme being drop-kicked all over Hollywood.

The thing is that this film is obviously eye candy. And today you cannot be politically correct and not attack something like that. I notice that it moved straight to the third place nationally when it came out on video, and that it has an average rank of four out of fives stars with the audience at Amazon. Critics; can't live with them.

See it for the girls. What girls! They can even move. Elizabeth Berkley's moves are smoking sexy.

And that's all I have to say about that... (Lahf is lahk a box of chokolates.)

Paul Verhoeven's most daring film to date.
Paul Verhoeven's Showgirls is a great film. It's flawless, it's funny, erotic, realistic, intense, violent, etc. It was very well received in Europe. It has a lot of cool modern dancing in it, being very close to be a musical. "Showgirls" is the "Dirty Dancing" of the 90s. See it for yourself. ... Read more

Amazon.com

A rarely screened cult favorite from Paul Verhoeven, this story of medieval war and revenge should please action fans and admirers of the director and his semi-regular leading man, Rutger Hauer, but its graphic scenes of sexual violence earmark it for mature viewers only. Hauer stars as a 16th-century mercenary hired by a Western European ruler (Fernando Hilbeck) to assault a neighboring kingdom; when the king reneges on his promises to Hauer and his men, they kidnap his son's fiancee (Jennifer Jason Leigh) and hole up in a nearby castle. Hauer and Leigh are standouts in a strong cast that includes Tom Burlinson, Bruno Kirby, the late Brion James, and Susan Tyrrell; Verhoeven's realistic approach to the down-and-dirty facts of medieval life and the bloody aftermath of warfare offers a refreshing alternative to most Hollywood period films, but a pair of brutal rape scenes may be too much for some audiences. MGM's DVD is widescreen. --Paul Gaita ... Read more

Reviews (14)

Flesh and Blood - a movie for a New Years' Eve
This movie is such a pleasant surprise! Rutger Hauer is soooo handsome and sexy. As "Martin" he and his band of mercenaries roam the 'northern european' countryside (where is this supposed to actually be?) with a statue of St. Martin (Martin's patron saint) guiding them to their destiny--a castle with the plague awaiting them.

Agnes looks very much the part of the child princess bride. Some of this movie reminds me of the (in)famous "War Lord" with good 'ole Charleton H.--princess bride ravaged by the warrior--only in this one the bride isn't long suffering but actually has some fun with Martin too.

The war machines add to the plot but man did the director take liberties. How did the wood on the 'telescoping' ladder keep from burning? Did they have dynamite for the 'bomb' invention back then? And how would the Arab medical texts suggesting the plague swellings be cut open rather than bleeding the victim make it all the way up there?

The dialogue is so camp! At the most inappropriate times you find yourself laughing outloud--like at the end of the rape scene where Martin says: "I'm done, I hope you are". And the scene when Martin's first woman is having a baby and she says: "That hurts!"--an understatement if I ever heard one. The sexy bath scenes are very seductive--a mideaval hot tub, candles and all sorts of frolic.

The film is shot in SPAIN--Avila and other beautiful locations but the weather is not always all that sunny--the rain and mud--whew!

Loved this movie--you will too!

Paul Verhoeven's "transition" film
Flesh and Blood can be considered Paul Verhoeven's transition between Holland and Hollywood. This film was his first English-language one and was funded by an American studio (Orion), but was filmed with a largely European crew in Spain. It is interesting to note that the shoot was absolutely miserable, with terrible weather and infighting on the set that caused a years-long rift between Verhoeven and leading man Rutger Hauer. The bad feelings really seem to come through in both the directing and the acting. It was after this movie, having severed ties with his former producer and star, that Verhoeven blew town for Hollywood and filmed Robocop.

I've been waiting for this on DVD for a long time, and now MGM has finally announced a February 2004 release for Flesh and Blood. Now if we could only get the Dutch miniseries "Floris" translated to English and released, our Verhoeven collections could be complete!

FLESH + BLOOD
Well, this is a good movie, although it has some bad parts it still is worth watching. It has everything in it to make it a good movie and it has a heart. This is a good movie. GREAT!

what a mess!
This was one of the worst flicks I've ever seen....the acting was atrociously bad--especially Jennifer Jason Leigh (was this her 1st movie)? The plot is ridiculous, the fighting is amateurish and completely unrealistic and the actors look like they were just handed a script and asked to improvise. Rutger Hauer looks like he can't wait to get this mess over with.
You'll need to see "Braveheart" to cleanse your palette after viewing this mess.

One of my favorite films EVER!
Flesh and Blood is one of the most wonderful films of all times!
I saw it for the first time when I was 8 years old, and it immediately become my favorite! I was longing for this films launch on DvD for a long time!
It is dark, and raw but it has many elements apart from what is apparent. It is actually a love story, surrounded by sin, war, plague and lust; and all these in an incredibly mystical setting and time...Definately reccomend it! ... Read more

Amazon.com

Once upon a time--1967, to be precise--Danish director Jørgen Leth released The Perfect Human. In The Five Obstructions, fellow countryman Lars von Trier (Breaking the Waves) challenges his "hero" to remake the short five times and provides a different set of "obstructions" for each. Because Leth likes cigars, von Trier suggests the first be made in Cuba. For the second, however, he sends Leth to "the worst place on earth"--Bombay's red light district. The obstructions keep coming, interspersed with conversation and clips from the original film, in which actors engage in a variety of activities, like eating and dancing, while the narrator posits oblique questions like "Why is joy so whimsical?" (Von Trier claims to have watched it "at least 20 times.") In the end, the two Danes have whipped up an unclassifiable concoction that plays less like documentary and more like a duel between friendly adversaries. --Kathleen C. Fennessy ... Read more

Description

Winner of the Palme d'Or and Best Director prizes at the 2003 Cannes Film Festival, Gus Van Sant's (Good Will Hunting, Finding Forrester) Elephant takes us inside an American high school on one, single ordinary day that very rapidly turns tragic. Elephant demonstrates that high school life is a complex landscape where the vitality and beauty of young lives can shift from light to darkness with surreal speed. It's an ordinary high school day. Except that it's not. ... Read more

Reviews (126)

The deepest chills ...
I knew nothing about this movie going into it except that it was a portrayal of columbine. This being said, I expected a documentary type film that focused on motives, characters, and sketched out a cause and a blame for the shootings. Boy was I wrong. What I found instead was a film that portrayed true reality much better than anything I've ever seen on TV or a movie screen.
A sense of normality is established within the first few minutes of the film. Knowing that something bad is going to happen makes every scene build with tension as we watch high schoolers go about their everyday lives, which are so simple, yet so complex, each one special in it's own way. There is no true explanation to any of the events in this movie. They just are. This is how real life works. The shooting just happens. This is how real life works.
The shots and sequences in the film and their drawn out nature combined with the forementioned reality sent deep chills through my body and mind while I was watching this film. Although the expected violence happened, there was no true climax to the movie. No relief, and no resolution. Just reality. Therefore, chills remained in my spine through the silent credits, the walk to the parking lot, and the drive home.
This movie makes no point of morals or what is right or wrong with our society or high schools. The point that you should gain from this movie is that what will be will be, and although true-life events are not sugarcoated, as most movies portray, there may be no rhyme or reason to the events that may occur.

THIS IS, LIKE, SO DEEP AND STUFF
I'm amazed a film like this could sweep awards at Cannes, or any festival. The camera floats around an ordinary school, tracking students' lives, nothing special, your average day stuff, in what seemed like a thinly veiled take on the Columbine tragedy of school shootings.

There are no good guys and bad guys, every character is made sympathetic simply by being real, by being himself, by being human. This includes the two weirdos who go on a rampage, who played violent video games (like most teenagers) and watched documentaries on Hitler with rapt attention. Not sure if this was an implied cause, or just a nonchalant and thus somehow artistic trope.

That's it. That's the plot. One of the "spotlight reviews" on this site mentions how the lack of a point was in fact the point. Well that's good for life but capturing life as-is on film, without any perspective or any cinematic accoutrement at all, is a bit pointless if not outright stupid.

"Elephant" seems like a deliberately point-of-view-less film, much like its title, which has nothing to do with anything in the movie.

So if you, like the French, have a taste for a sequence of screens that do not necessarily need to hinge around a semblance of a theme or purpose, you'll be in entertainment heaven. Grab your six packs and discuss motives and perspective and all those lovely film theory things long into the sunset.

For the rest of us, thank god there's a 16x skip functionality on my DVD that's like a fast forward on steroids, or better still, there are a billion other more interesting + intelligent ways to waste time.

A WASTE OF TIME
This movie was a joke, a waste of 80 min. of my life. It was SO SLOW. Basically, it's the same few kids walking up and down halls with minimal action, until the end. Hmmm...interesting how it's a school day and only a handful of kids are to be seen in school. Unrealistic & stupid, it's a waste of time and money.

Whoosch! Here's your eighty minutes back!
Generally, I don't like viewer reviews on Amazon that get all pouty when people don't like a movie that they like. This time, however, I'm going to treat myself to a disagreement, but instead of pouting, I'm just going to give all the people who didn't like this movie their time back. (One of the unhappy people here said he wanted the eighty minutes of his life back which he spent watching this movie.) So. Whoosch! Here's your eighty minutes back! Problem is, you won't notice that you have the minutes back until the end of your life; now you won't depart until eighty minutes later. Is this fair? I think this is fair. Enjoy!

ART
although slow at times, this movie is really moving, i rented it after hearing about the movie, and im really glad i chose to see it and iam going to purchase it very soon,the camera work is something beautiful, a true piece of art, very haunting and real, gus van sant has accomplished a masterpeice and i highly reccomend it ... Read more

Amazon.com

With its disturbing images and a few good shocks, The Ring is the kind of frightfest you'll watch to set a chilling mood or spook your susceptible friends, but when you try to sort it out, this well-mounted American remake (of the 1998 Japanese hit Ringu, based on Koji Suzuki's popular novel) becomes a batch of incoherent parts. The negligible plot follows a Seattle reporter (Naomi Watts) as she investigates the death of her niece, the victim of a mysterious videotape that, according to urban legend, causes the viewer's death seven days later. (Fear Dot Com borrowed the same idea while avoiding this film's lofty pretensions.) The countdown structure follows the reporter, her son, and her estranged boyfriend into deepening layers of terror--all quite effective until the movie attempts to explain itself. At that you're better off shutting down your brain and letting the creepy visuals take over. --Jeff Shannon ... Read more

Reviews (893)

The Curse of 'The Ring'
Gore Verbinski's American remake of the Japanese modern horror masterpiece replaces the original's raw horror and nightmarish intensity with elegant atmosphere and elegiac, contemplative pacing.

'The Ring' is a vivid, menacing, and somber mood film.

Naomi Watts carries the film as a emotionally detached journalist and mother whose niece dies from a supposed cursed videotape that allegedly kills whoever watches it seven days after its viewing. Watts gets her hands on it, watches it, shows it to some loved ones, and goes on an investigation, racing to cure herself from the curse before her seventh day deadline (pun intended).

Verbinski shows weaknesses (but still succeeds) with the character drama and emotion, but excels with the film's haunting visuals and atmosphere. Ehren Kruger's thoughtful and grim screenplay is a masterful adaptation of the original Japanese film.

'The Ring' is a bleak, beautiful, and breathtaking horror film with a strong emotional core. It also raises some very powerful and evocative themes about parents and children, compassion and the media's lack thereof, grief, tragedy, and the film goes full circle with them (pun still intended).

Don't forget to watch the original Japanese film 'Ringu,' which is being released simultaneously with the American remake on March 4, 2003.

A new horror classic has been born!
Every year close to the end of October the studios offer at least one film that happens to fall into the genre of movie horror. Last year "From Hell," "13 Ghosts," and "Bones" filled our trick-or-treat bags, and with Dreamworks "The Ring," this year is no exception. From the opening scene, during which my girlfriend grabbed her mouth as she gasped at the horrific image that her eyes had caught a glimpse of (and I have to admit it was a rather shocking sight), "The Ring," based on the novel by Koji Suzuki, kept me entertained as I waited for more chilling moments to arrive. They were moments that weren't overdone with special effects. They scared us because of the atmosphere in which they were presented, which included settings like old barns, run down mountain cabins, and late night living rooms. The film starred Naomi Watts as Rachel Keller, a reporter who became entangled in her own investigation of a mysterious videotape, which after watching lets you know via a phone call that you will die in seven days. The Ring's suspense was heightened after Rachel herself watched the tape out of curiosity, and soon afterward found her young son Aidan (David Dorfman) watching the tape also. Then came an eerie seven-day journey during which Rachel uncovered clue after clue with the help Aidan's father Noah (Martin Henderson) who lived separately from the two of them. Her investigation led her to a remote island horse ranch where a retired widowed horse trainer played by Brian Cox, lived alone. How this and other elements came to make up "The Ring" was as mysterious as it was at times frightening. However, the most mysterious question that the movie posed involved uncovering the tapes origin. This question of how the tape originated and where exactly did it come from was never answered completely. We knew that the retired trainer's deceased daughter was somehow the cause of its existence, but how she exactly brought it to be was never made known. This didn't bother me too much in the end as most of the other lingering questions that I had were answered, but it would have made "The Ring" fit a little tighter. "The Ring" had certain similarities to 1999's "Stir of Echoes," and even this year's less than entertaining "FearDotCom." It involved a spirit of the dead contacting the living in an attempt to make known the mystery of her death. "Stir of Echoes" worked well because the supernatural force of the deceased only brought true harm to those involved in her murder. We sympathized with her and even cared about her in the end while still being frightened throughout. In "The Ring" we sympathized less with the deceased young girl because she seemed to take no liberties in who ended up dead from the videotape through which she reached her victims. This didn't necessarily act to scare us less. It just kept us more emotionally removed from her character who was much more an element of horror than Samantha was from "Stir of Echoes." Would the spirit of the young girl in "The Ring" have worked better having possessed some good? Probably not since the film was more about Rachel trying to save her and her son's life, and beat the cycle that the tape had set in motion. As a result the movie was more frighteningly entertaining than it was emotionally moving. Naomi Watts, who in appearance looks like a cross between Laura Linney and Nicole Kidman, gave a good performance as Rachel. She gave Rachel the right mix of curiosity, strength, and fear, which worked well for the movie.

scariest movie ever
The Ring is about a freaky little girl that kills you seven days after you watch her messed up video.This movie is so screwed up that it'll make you go under your covers with a flashlight and make you want your mommy.P.S. you'll have to find the ending out yourself.

Viscerally creepy, but not a whole lot more than that
Gore Verbinski's THE RING is the classic example of a film that is all style and very little, if any, substance. Verbinski certainly knows how to make a creepy horror film: this film is laced with atmosphere and dread and gray skies. Technically, it is quite impressive. It's too bad that all the skillful visuals are put in the service of a really dumb plot---or, at least, that's the way it turns out. Perhaps the idea of a videotape killing people could make a good horror film---but when the screenplay by Ehren Kruger starts trying to explain how the videotape was made and then how to dilute the videotape's power, this movie just became plain stupid for me. How could anyone be duped into blindly accepting this kind of silliness? I suppose, though, that that is a very subjective reaction and that some people might find its visuals and atmosphere effective enough to accept the film without a second thought. Still, I remember that John Carpenter's HALLOWEEN never really provided an explanation for Michael Myers' motives (except, of course, that "he's crazy"), and I think that perhaps horror movies shouldn't be so burdened with having to explain the horror in them---it should merely be felt, since film is such a visual medium anyway (leave explanations to writers, hehe). In the case of THE RING, we feel the horror, but we also feel a plot that strains to explain itself, and ends up merely being laughable instead (especially that final twist, which I had difficulty swallowing). If Kruger hadn't tried so hard, maybe this would have turned out to be a highly effective horror film instead one that made me wonder what the heck the horse in the middle of the film had to do with anything. I think THE RING is viscerally creepy enough that it earns its three stars here, but all of Verbinski's style cannot hide the fact that, plotwise, this film is a mess, and I certainly don't plan on seeing this film's intended sequel whenever it comes out.

Awesomely Wicked
The first part made me jump. How horrible to see that chick's face disfigure when the girl from the well came out and scared the living daylights out of her. Then when they find out she was in the closet and her face was all zombied out it was too disturbing to look at.

After watching that movie, which I rented in a video store and watched it with my wife. I was having nightmares and sweating because of that little girl from the well.

Her long black hair that covers her face was just too wicked. She reminded me of the girl from the exorcist.

When she came out of the T.V and scared the hell out of that one dude- She zoomed in at him and he jumped off-That part made my heart pump really fast and made my hair turn white.

At first I thought it was a happy ending, but when that little boy said, "She never sleeps!" That made the movie turn its true colors.

It was a depressing story to hear how that little girl died, but she avenges anyone who watches that tape.

I hope the sequel which is coming out in the Fall is pretty wicked as the first one.

I recommend to not watch this movie alone during the night. ... Read more

Reviews (7)

"I didn't expect her to be so cunning."
Once a week, on Wednesday nights, Pierre Brochant (Thierry Lhermitte) and his circle of snobby friends host an "idiot dinner." Each participant is supposed to invite a guest--the biggest idiot he can find. The object is a sort of idiocy one-up-man-ship as the hosts spend the evening encouraging the guests to talk about themselves and their obscure hobbies (one guest, for example, has a boomerang collection). The "idiot guests", of course, have no idea why they're invited, and they are delighted to find an interested audience. These guests then unwittingly provide the entertainment for the hosts, and the hosts' collective sense of superiority is re-enforced.

On this particular Wednesday, Brochant can't find an idiot, but he's tipped off about a certain Monsieur Pignon (Jacques Villeret), a jovial mild-mannered tax official--whose obsession is replicating national monuments by building models composed of matchsticks. Pignon's crowning achievement is a replica of the Eiffel Tower (346,422 matchsticks). So Brochant invites a delighted Pignon to the dinner. Complications arise, however, when Brochant injures his back and cannot attend the dinner. With Brochant trapped and housebound, Pignon is unleashed into Brochant's life. Pignon proceeds to demonstrate his idiot potential by his kind but bumbling blunders. Mishaps involve a zealous tax inspector, a disgruntled mistress, a distraught wife, a discarded ex-lover, and a wealthy Lothario with a secret love nest.

"The Dinner Game" is a perfect French comedy. It was originally a play, and you'll get the sense of that as the action takes place. Timing and execution are perfect. Some of the film is laugh-out-loud funny, but the amusement never loses its momentum in this perfectly paced film. The cast is excellent, and part of the humour is derived from the layers to fun to be had here. Sometimes two characters giggle at the misfortune of a third, but then, before too long, the focus of the humour shifts attention and discomfort to another character. The film doesn't miss a beat. If you enjoy French comedy, don't miss "The Dinner Game" from director Francois Veber. If you enjoy this film, I also recommend another Veber film, "The Closet"--displacedhuman.

You'll laugh so hard you just might mess your pants...
...it's that funny! And yet, as mobby_uk observed, there is a poignancy underneath it all. Some are put off by the premise, a dinner that is a competition to see who can bring the most ridiculous guest. Don't be. It's an ugly idea but a deeply humane movie. Jacques Villeret's portrayal of François Pignon is side-splittingly wonderful, hilarious and touching. And writer/director Francis Verber, who also had a hand in writing La Cage aux Folles, is an international treasure.

A very funny movie
I laughed so hard while watching this movie. A man invites a stranger to dinner, who he believes to be an idiot, so he can entertain himself and laugh at the idiot. Little by little, the idiot ruins the intelliegent/rich mans life, and one is not sure who the real idiot is. This is the kind of movie that could be real bad, but the actors have perfect timing and all the jokes work.

One other comment- for those learning French. I have been buying movies made in France to improve my speaking and listening skills. This movie is excellent for learning French, the words are the ones I studied using the first 26 lessons of "French in Action". Many of the common words begenners learn are repeated in this movie and are easy to understand.

The DVD is excellent. The colors are bright and rich and everything is crystal clear. I wish more DVD's had the same quality as this one.

It's more than I expected.
First, you will laugh. Then you will laugh more. At some point, you will feel the anger of Pierre Brochant and say to yourself, "I have enough of this idiot!" The next minute, you will be stomping and slapping, and laughing again. You just don't know what will happen, or should I say what will go wrong!?

It is silly, but entertaining. Definitely a keeper!

The Funnniest movie I've seen.
I can't say enough about this movie. I laughed so much, it's truly a side slapping movie. It's the funniest movie I've seen in years. Rush out and buy it or rent it because you will laugh till you drop. ... Read more

Reviews (187)

A well-made feel good movie
I have seen many feel good movies in my lifetime such as Good Will Hunting, Scent of a Woman, Dead Poet's Society, Patch Adams, & Finding Forrester is way up there with them. The movie is portrayed as a matter-of-factly of a 16 years old African American boy, Jamal living in the Bronx. He deliberately passed his grades simply rather than excelling in the exams & shooting hoops in order to fit in with his peers but his hidden potential was soon discovered by an elite school in the nation's bursary which offered him a free scholarship. In a dare with his friends, Jamal sneaked into William Forrester's (depicted brilliantly by Sean Connery) apartment & by accident, a lifelong frienships ensued. Jamal's significant improvement in his grades raised suspicion from his teacher (potrayed well by Murray Abraham). As William put to Jamal's succinctly, a good teacher could either be very effective or very dangerous & soon enough, Jamal was at the receiving end of the teacher's wrath for being too good. Naturally, race issue was touched upon, & the awkwardness of Jamal to date a white woman (acted by Anna Paquin) with a rich background was displayed not by words but by those silent moment & brief glances. Towards the end, it all came to a climax with a predictable but resounding ending. A movie that deserved to be savoured slowly & the message shines thru, that if you have a dream, pursue it albeit how late it is as long as you pursue it. A cameo appearance by an unexpected star which would give the whole meaning to irony. Rob Brown (who played Jamal), a non actor was believable with his big innocent eyes craving for knowledge, Busta Rhymes played a surprisingly low key character of Jamal's elder brother who wished for nothing but the best for Jamal as he accepted his own fate as a parking attendant at the local stadium, & Sean Connery was simply splendid as always. A movie that deserved to be stood alone on its merit. Special features in the DVD are widescreen presentation, English & French subtitles, Dolby Sound, HBO Making of the movie, Rob Brown, deleted choir scenes, theatrical trailers, talent files, interactive menus, production notes, & lastly scene selections.

Finding a beautiful movie..
Finding Forrester is one of the rare movies that don't rely on corny music and movie cliches to touch your feelings.The message is delivered in a subtle form and although the story is not unique,this time I really found myself caring for the characters.This leads me to the conclusion that it is not what you tell,it is how you tell..

Jamal(Rob Brown)is a high school student living in Bronx.He has two skills,playing basketball and writing.At a time in his life when he must decide what kind of future he wants,he meets William Forrester (Sean Connery),a once Pulitzer winning author,who dissapeared and decided to live a life of isolation after the publishement of his only book.Traditionally,it would be expected that Jamal needs Forrester's help to truly understand who he is and what he wants,buth both characters are in need of help of some kind.Their friendship starts in a bizarre way,and change both of their lives.

I was not surprised by how great Connery's performance was,because anything else is unthinkable,but Rob Brown really impressed me.And I was even more amazed to learn that it was his first screen presence.He applied to be an extra because he needed money to pay hiss cellphone bill.Well,I hope he did,and that he continues making movies,because he is a natural actor in my opinion.

The movie definitely reminds me of Good Will Hunting,the director's other movie,but although I liked that one too,I think Finding Forrester is superior.It doesn't have those "high" moments like Good Will Hunting,but the movie as a whole is touching,and some of the dialogue and the ending is genuninely original and emotional.

The DVD has a nice picture transfer.The extras are average,not bad but cold be better.I think this is a must-have DVD.

In Finding Forrester,you will find something..

Your the man now, dog!
I loved the way that a most uncommon friendship formed between 2 most different people. Who would have thought that Sean Connery fitted into a role such as this, but it was very clever to see it all develop. I've always enjoyed the melancholy acting of F. Murray Abraham, and once again he proves that he is perfect for the role. It was the first movie where I realized that Busta Rhymes acted on the side.I thought he almost played a key role as the ideal big brother, and showed the genuine love for Jamal that some siblings never experience. Rob Brown, awesome. A talented young basketball player who learns that he is also a talented writer.

One thing that I love are some of the comments that Brown and Connery come out with in this. Brown: "You read all these, man?" Connery: "No, I just have them to impress all my visitors." Another one I like is, "Bolt the door... if you're coming in." But my favorite line throughout the whole film as to be one you probably would never expect from someone like Sean Connery. He booms, "PUNCH THE KEYS!!!" and Jamal punches the keys, and then he proceeds to say, "You're the man now, dog!" Who's gonna forget that! Ha!

Not Much To Find Here
Probably Gus Van Sant`s more mainstream (and uninspired??) movie, "Finding Forrester" presents a couple of intriguing moments and ideas yet the result is typical and too close to cliched territory. A coming-of-age story combined with an essay about the writing process, this average melodrama starts well enough but loses its steam halfway through. There`s nothing new here, and some of the plot resembles aspects of the previous (and better) Van Sant`s picture, "Good Will Hunting". Sure, the acting is very convincing and the direction shows some brilliance at parts, but the pacing is too uneven and drags in many moments. "Finding Forrester" is also too PC and "pretty", delivering another awe-inspiring Hollywood piece of fluff that doesn`t dare to challenge the viewer (and Van Sant is usually a challenging director). Overall, this cinematic experience is not a complete disaster but doesn`t manage to impress either, offering a so-so story that has been done before and with better results.

Good at parts, a somewhat interesting failure as a whole.

MOVING TALE, DESPITE THE PLOT'S SHORTCOMINGS
The story is so played -- a ghetto genius is discovered, quite by accident, and is guided by a rough-around-the-edges genius-in-his-own-right mentor. You have seen this in "Good Will Hunting" or "Hoop Dreams" among others.

Fortunately, Finding Forrester does have a somewhat different hue, and unlike the mawkish sentimentality of movies like Patch Adams or Bruce Almighty, it includes decent and well-contained drama.

It unfolds smoothly. So smoothly in fact that you don't really realize how many cardboard characters are smooshed in -- a spent-up reclusive J.D. Salinger type writer (Sean Connery), a failed writer with a grudge (the professor), a rich WASP student in a rich WASP school (the love interest of the black boy that never really takes off)..etc.

Besides, the movie's main premise hinges on a rather implausible chance meeting between a bunch of kids playing basketball and a Pulitzer winning writer who purportedly lives a hermit's life.

Yet, the script makes all the difference, it overshadows these minor quibbles. Very well written movie, tinged with modernistic poetry spoken and actuated with the least accents and efforts, more than enough to keep the spirit going.

Recommended rental. ... Read more

Amazon.com essential video

All film noirs need deceit, betrayal, dialogue hard as diamonds--and dames even harder than that. But Gilda is the only one with the dame front and center, and for good reason. Rita Hayworth shimmers in the 1946 classic, which spins on a tortured plot involving the title character (Hayworth); her imperious husband (George Macready), a ruthless casino owner and head of an Argentine tungsten cartel (!); and Johnny Farrell (Glenn Ford), Gilda's ex-lover and now her husband's go-fer. But no one watches Gilda for the plot, except to learn that all the characters have secrets--perhaps even ones they would kill for. Hayworth captures Gilda's vulnerability beneath her devil-may-care front ("If I'd been a ranch, they would have named me the Bar Nothing"). Not to be missed: Hayworth's slinky striptease to "Put the Blame on Mame." --Anne Hurley ... Read more

Reviews (37)

Worth seeing 100 times!
They don't make them like this anymore! An exciting film noir with the beautiful Rita Hayworth and the handsome Glenn Ford. They were the most popular movie couple of the 1940s/1950s and seeing GILDA you're caught in this love triangle of a women torn by love/hate and two men falling into her trap. Rita does the unforgettable "Put the Blame on Mame." A MUST SEE for fans of these two classic mega-stars!

"There never was a woman like Gilda!"
This artificial melodrama is only redeemed by the absorbing performances of its lead actors. Set in the Argentine, along a backdrop of gambling casinos, illicit trade and international intrigue, it portrays an American gambler (Glenn Ford) who is enlisted to become the right-hand-man of a powerful casino owner. He is struck by the fact that his new boss's wife, Gilda, is an old flame of his, a sensuous, enigmatic and manupulative "femme fatale", played by the sex bomb of the 1940s, Rita Hayworth. The story develops along a pattern of a love triangle sustained by reciprocal hate, love and domination as the trio dramatically pit their wits against each other. The dialogue sparkles once managed by these actors and in this style. Hayworth is captivating as Gilda, perhaps her most accomplished performance. Ford is also good as the gambler promoted by the boss to casino top-dog, though the honours also have to go to George Macready as the the husband and boss, the ice-cold, self-possessed, aristocratic type. The character actors, particularly Joseph Calleia and Stevan Geray, provide excellent support. The digitally remastered version of the film restores the crisp quality of the black-and-white phtography.

"I make my own luck."
In Charles Vidor's classic film "Gilda" Johnny Farrell (Glenn Ford) plays a down-on-his luck drifter in Argentina. One night, he meets mysterious casino owner Ballin Mundson (George Macready), and soon Johnny is working in the casino--and rapidly rises to become Ballin's right-hand man. Johnny has a rosy future until Ballin leaves for a short period and returns with a juicy new bride--Gilda (Rita Hayworth).

Johnny and Gilda had a relationship in the past that turned sour. Ballin quickly guesses the true state of affairs and a rather bizarre love triangle ensues....

Ballin attempts to control Gilda by giving her a very long leash. He has some rather dirty business in his past, and that keeps him occupied. Ballin assigns the role of watchdog to Johnny. Johnny finds this role excruciatingly painful, and he's caught between fealty to his employer and suppressed lust for Gilda. Johnny attempts to control Gilda by locking her up--neither man's plan works. Gilda remains an exotic, reckless creature who endangers herself in order to make a point. Gilda's wild attitude towards life, and her sarcasm--loaded with suggestive meaning--is brilliant. When describing herself, Gilda says, "If I'd been a ranch, they'd have named me the Bar Nothing." All men want to possess her, and yet possession is the one thing she won't allow.

Rita Hayworth as Gilda is simply stunning. There's no other word that I can use. When she's in a scene, she takes over--with her body, her movements, and her reckless approach to life. When she enters Ballin's sharply controlled existence, chaos rules, and she sends out shock waves of desire to all who see her. Hayworth performs a semi-striptease during a song, and she removes one item of clothing. The crowd roars with delight, and the men in the audience have to be physically restrained from ravishing her on the spot. Amazing stuff. For film noir buffs, I recommend this film. It's highly entertaining, full of great-one liners, and Rita Hayworth is nothing less that magnificent. The DVD was marvelous quality and well worth the purchase--displacedhuman.

Rita Hayworth stars as GILDA, with her 2 GAY boyfriends!
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I remember the first time I saw this noir classic as a teenager and thinking how wonderful it was that a film had been made in the mid-1940's that actually featured a plot about two gay men and their diva girlfriend.

Years later, I read an interview with Glenn Ford in which he said that everyone who worked on the film knew there was an obvious gay storyline, but that due to the film being made in the 1940's, they had to be very subtle in their interpretations of gay lovers on-screen. It's still obviously clear that George Macready is Glenn Ford's rich and not-so-charming sugar daddy. Both leading men wear so much product in their hair and are so well dressed and manicured, you just KNOW they can't be straight!

It doesn't take a genious to figure out that the two leading men are more than just good buddies. When Mundson first presents his new wife Gilda to his male lover Johnny, he says "Quite a surprise to hear a woman's voice in my house, isn't it Johnny?" Well, you can tell by the look on Johnny's (Glenn Ford) face just how surprised he is!

Gilda is the perfect trophy-wife for any gay man in the 1940's who's running a gambling casino and who needs the perfect "beard" to keep up a straight appearance. Gilda is just so fabulous that any gay man would love her... except of course for Glenn Ford, whose insanely jealous of his boyfriend's new diva; for reasons that are never made quite clear in the film. (Probably due to heavy post-production censoring, of which much was done by the notorious Hayes Office that censored all films of this era.)

In fact, Gilda is so fabulous, that not only does Mundson marry her, but when he "dies" in the film, Gilda is then married by Mundson's lover Johnny! (Of course neither marriage is ever consummated - a fact made quite clear in the film.)

Gilda is so diva-esque, she's almost a drag queen! The gowns, the shoes, the hair! FAB-u-lous! The ad-line for the film stated: "There never was a woman like Gilda". Of course there never was a woman like Gilda. Gilda wasn't supposed to be like any real woman, she was a fabulous cartoon. While there may never have been a woman like Gilda, we had the closest thing: Rita Hayworth.

Of her own real-life problems with men, Rita was quoted as saying "All the men I knew went to bed with Gilda and woke up with ME." Who could live up to the reputation of Gilda, the character of whom "there never was a woman like"? Poor Rita!

Watch this film with a "queer eye" and you won't see any "straight guy" in the storyline. Snaps for good gay cinema of the forties!

P.S. If they ever decide to remake this film, I would recommend that they cast TV's "Will & Grace" lead stars Deborah Messing as Rita Hayworth and Eric McCormick as Glenn Ford. They would be PERFECT cast in these immortal roles! (Deborah Messing is SO Rita Hayworth, and she plays off McCormick just as Rita played off Glenn Ford. The casting would be ingenious!

"Maybe That Stands for Something"
Rita Hayworth went down in Hollywood history as the Love Goddess. Her title role in *Gilda* (Columbia Pictures, 1946) leaves no doubt why. Yet here she is much more than a sex symbol. For one thing, Rita was a seriously talented actress. For another, she was one of the best dancers in films. To this day her performance in *Gilda* remains unrivaled as a combo of skill, sensuality, sensitivity, and sheer drop-dead pulchritude. Columbia's catchy ad-phrase for the film was, "There never was a woman like Gilda." You'd better believe it. Glenn Ford perfectly fills out the character of Johnny Farrel, the young gambler who hates to love femme fatale Gilda. In return, Gilda loves to hate Johnny. George MacReady offers an outstanding performance as murderous Ballin Mundson, the man Gilda fears.

If you like movies that challenge the viewer to figure out hidden meanings, then *Gilda* is for you. "Maybe that stands for something," Rita-as-Gilda says near the beginning; "Maybe that means something," she says near the end. Halfway through she says, "Any psychiatrist would say that means something." The question of interpretation hangs over the entire film, loaded as it is with symbolism and double-entendres.

On the other hand, you can ignore the subtext and enjoy *Gilda* as a noirish romantic mystery-thriller. It's a beautiful flick to look at in black and white, and it's never boring, even all the decades since it was made. Some reviewers say the plot is difficult to follow. I don't agree; the story is both logical and economical. But that may be because I understand *Gilda* to be a dramatized introduction to the psychological concepts of C.G. Jung. Never mind. If you like your movies to be just movies, *Gilda* tastefully blends ingredients from *Casablanca*, *The Maltese Falcon*, *Notorious* and *The Big Sleep*, then stirs in its own original sauce. In my opinion, it's an improvement upon those classics, as fine as they are by themselves.

I wouldn't call *Gilda* a true film noir, for the reason that at the end the male and female leads are triumphant instead of tormented. Great films of the 1940s that had real "noir" (black) denouements are *Criss Cross*, *Detour*, *Double Indemnity*, *Scarlet Street*, *The Killers* and *The Postman Always Rings Twice*. Still, on their way to a happy ending Johnny and Gilda pass through a landscape that is darker and more suggestive of spiritual abandonment than most '40s film noirs dared explore. At the same time, because of the intense chemistry between the leads, *Gilda* sizzles hotter than any film of that period I can think of.

Love the music too. Five stars. They just don't make 'em like this any more. ... Read more

Reviews (9)

Writer that has back is killer
This isn't an intelligent film, even for American standards. The police are so dumb they couldn't find a giraffe in a field of wildebeasts. Even the US army would be able to find the killer in this movie.

Having said that, this movie did make me quite hot. I walked down to the well and jumped in.

Here in Africa most people don't wear clothes anyway so nudity alone isn't enough to satisfy me.

Relied on erotic images to sell the film
BASIC INSTINCT is easily the most over-rated film of the 90's. I didn't like it in 1992, and watching the full uncut DVD version in 2004 I still feel the same.

BASIC INSTINCT tries to be a Hitchcock type film in many ways. Firstly, it has an annoying 'suspense' music score that plays throughout the film even when a scene doesn't warrant it. Next, the film reveals the killer but attempts to leaves you wondering if he/she is the real killer. The problem with BASIC INSTINCT is that it is so obvious that Sharon Stone is the killer. Not that we really care, afterall the storyline is so sleazy, that you feel no empathy for any of the characters.

The film relied on lots of erotic images to sell the film, and there is a reason for that. The Director must have realised from the begining that it was very ordinary storyline, and needed something to make it appealing. Problem solved: include lots of erotic images and a naked Sharon Stone ... and people will go to and see it for that alone. Clever marketing.

DVD SUMMARY: Basic Instinct has been released three times now on DVD, its first release way back in 1997. The version I saw was the second version which sports a DTS soundtrack, and some interesting special features. These include a "comparison with TV and Uncut version", and a documentary on the "making of" which reveals the problems that plagued the film set in San Fran. The DVD copy I have has a very soft film print which I would consider similar to VHS quality (it's that bad), however it is in Widescreen (five points for that).

Eye Candy and More...
I can't believe I waited so long to see this movie! It left me nearly speechless. The sex! The plot twists! The madness! How can it all be processed into words. First, the love scenes (if I can even call them that) would make Billy Bob and Hallie blush any day of the week and the famous "interrogation" was all that it was cracked up to be. By the end of the film I didn't know whether to be aroused or in complete shock. I thought I had it all figured out, but I was thrown for a loop (probably because of Stone's privates and Douglas's bottom all in my face). The last word: a must see, but not with your mother.

Sex, sex, sex, sex and more sex. Nothing more, nothing less.
It's hilarious how worked up people got when this movie came out. The PC crowd decried the fact that a lesbian was the killer and, therefore, must have been the villan. The right wing crowd then immediately accused the PC crowd of being too hysterical about the alleged prejudice against homosexuals. Basic Instinct, they contended, was bad because it was a dirty movie. The producers, of course, loved all this publicity because EVERYONE went running to see the move and, in the words of Liberace, cried all the way to the bank. Telling audiences to not see a film because of homosexual activity and graphic sex scenes is like trying to scare ants away from a picnic by pouring sugar on the ground.

First of all, Sharon Stone's Catherine Trammell who is the killer lesbian (actually bisexual) in question, IS THE MOST SYMPATHETIC character in the whole film! EVERYONE is a slimebag! From Michael Douglas' hot tempered, tourist killing, chain smoking, cocaine snorting, oversexed police detective to Jeanne Tripplehorn's neurotic, kinky police psychiastrist who is more messed up than any of her patients to the rest of the morally compromised sleazes who pass for cops who laugh at murder victims and have the compassion and sensitivity of storm troopers, EVERY single character in this movie is a cesspool of a person! The way I see it, Sharon Stone is the most sympathetic person in the entire film -- at least she makes no bones about being sleazy. If you take the position that lesbians should be offended by their negative portrayal in Basic Instinct, then you could say the same for psychiatrists, cops (especially members of the SFPD), mystery writers, drug addicts, San Franciscans, smokers, country/western fans, chilli eaters, Mustang drivers and basically all human beings in general.

Of course, the right wing is just as clueless when it comes to Basic Instinct. I went to see Basic Instinct BECAUSE of all the sex in the movie! Anyone who tells you that they saw Basic Instinct for any reason other than to see loads of nudity and sex is so full of it, they should be slapped! I went to see Sharon Stone's nether regions in the police interrogation scene. I went to see the sex scene between Douglas and Stone that seems to go on for about half the movie (although I had to wait until the home video release to see ALL of the sex scene -- what a rip-off!). I went to see Sharon Stone display the wares she only hinted at having in Total Recall. I WANTED TO SEE SEX AND NUDITY AND, BY GOD, THAT'S WHY I WENT TO SEE BASIC INSTINCT!!! So many hypocritical prudes tsk tsk at all of the sex in movies today. Get a clue! This movie is like a huge bug zapper: drawing us in with loads of sex and nudity even though we're going to get zapped when we realize what a piece of sleazy trash we're watching (Joe Ezsterhaus must read tons of pornography in order to form his views of women).

But please don't get me wrong, this is INSPIRED sleaze that I am wholeheartedly recommending you at least rent, if not purchase. It may be sleaze, but it's really, really enjoyable sleaze which will have you "standing at attention" for a long, long time afterward (even after you see not one, but two, gratuitous shots of Michael Douglas' butt). And for those of you who have moral objections to Basic Instinct, please, go out and get a life!

Brilliant trash
Is this film trashy, exploitive and misogynistic?
Yes.
Is this film exciting, thrilling, titillating and fun?
Yes.
Is this film basically just a sexed-up version of Hitchcock's "Vertigo"?
Yes.
Does it work anyway?
Yes.
Did this film do us all a favor by introducing the world to Sharon Stone, who, as an actress is hit-or-miss, but as an icon and diva is one of the greatest?
Yes.
Could I go the rest of my life without ever having to see Michael Douglas' butt again?
Yes. ... Read more

Reviews (14)

A Chicano West Side Story -- entertaining and informative.
Director Luis Valdez has done an outstanding job in bringing us this highly entertaining and informative picture of life in LA in the 1940's. The music, song, dance, and story in itself will make you cry, laugh and want to swing along with the film. Edward James Olmos demonstrates his many talents as he sings, dances, and plays El Pachuco, trying to convince the hero (Daniel Valdez) to use violence rather than intelligence to overcome prejudice by "Anglos" toward the Latin culture. Great theatrical props and settings along with an in-show audience makes you feel truly part of the whole production. Loved it!

Zoot Suit
I saw this on the Independent Film many years ago, very good film, revolves around Gangs but gangs in the 1940's.

Also a film about Latinos (my people) and the problems they face in the inner city.

It's much better than those terrible soap opera's in Mexico, this film is a musical but it's also a drama focusing on different Hispanic characters.

Edward James Olmos career is synomonus with these type of films
most notable "American Me", "Stand and Deliver", "My family"
a great actor who is part of the real population.

Despite the great performances the film does suffer from
its story, you know several hot headed characters with their
attitude and lifestyles are only headed downhill and their
fates are predetermined.

Still "Zoot Suit" is a good film.

Chasing "The Capeman"
"Zoot Suit" was fighting and uphill battle for my appreciation. That's because I wanted it to be something else entirely. You see, I love the idea of filming live theatre. Purists and snobs will tell you that you lose something essential by taping a performance. Namely the immediacy of the live show--the audience's involvement, right there in the moment. But, on the other hand, that loss is inevitable and unavoidable. The camera is by its nature a detached observer. But it freezes in time what would otherwise be lost forever, unless of course it is revived. And revived is the perfect term because the work is on the brink of death until dedicated actors, directors and audiences are once again ready to breathe life into the piece. I have immense respect for the stage, but if I ever have the opportunity to write professionally I hope to start with screen or print because those two media are easily preserved. Which brings me at long last to my point, I rented "Zoot Suit" because it was close in theme to "The Capeman" which I want to see with all my heart. It has been gone from the stage for years, but is preserved in an almost inaccessible archive. "Zoot Suit" is here for all to see, and it is most certainly worth a viewing. It is much better than "West Side Story." Why is it that a play, which was first and foremost supposed to be an update of "Romeo and Juliet" has instead been elevated to being the end-all and be-all portrayal of street-gang life on the American stage? Anyway, rent it, watch it, enjoy it. Keep in mind that all three are separate plays and you will be much more apt to appreciate each in their own right. Just keep your fingers crossed that someone will take a risk and buy the rights to "The Capeman." I know I am.

Una pachanga musical!
Si usted es aficionado a la cultura chicana, la música swing de los años cuarenta, o de los artistas Edward James Olmos o Lalo Guerrero, ¡esta es la película para usted! La pantalla se enciende con una avalancha de música, baile y drama. La cinta lo lleva a experimentar una noche con el Teatro Campesino del dramaturgo Luis Valdez. ¡Luzca su mejor tacuche! ¡Dele brillo a esos calcos! Póngase abusado que la pachanga va empezar. ¡Simón, carnal!

Important historical drama, hampered by stilted production
This re-telling of the so-called "zoot suit riots" that rocked the Los Angeles homefront during World War II gets the facts right, but tells them rather poorly. Part of it is the super-stagey presentation, which basically is a filming of the play this was based on (right down to the shaking props and backdrops) and which takes little advantage of the possibilities of the film medium. Plus, Edward James Olmos is absolutely insufferable as the uber-symbolic Voice of The Barrio, although Daniel Valdez and Tyne Daly (!) are okay in their respective roles as a young man railroaded by the white establishment for a crime he did not commit, and as the commie agitator who comes to his defense. Anyone interested in the time period and in Chicano politics may benefit from watching this -- I rented it while doing some reseach on the "pachucho" R&B music scene -- but in dramatic and filmic terms, this is not a first-rate production. It's hammy and ham-fisted. Latter-day star spotting: El Teatro Campesion veteran Robert Beltran (of future "Star Trek Voyager" notoriety) has a bit role as a modern-day audience member... ... Read more

Reviews (29)

Northwest Junkie Pranksters
I am always surprised at how many people have not heard of this film. Although released back in 1989, this is definitely one of Van Sant's best films. This flick takes you into the day to day routine of Bob (played by Matt Dillon) and his melancholic and nomadic band of junkies who roam around the Pacific Northwest raiding pharmacies and hospital drug cabinets in search of Valium, Dilaudid and other narcotic goodies to pop, shoot and snort.

The mood of this film is generally very dysphoric however some comic relief is added throughout in the dialogue and 'trippy' visual imagery. Some of the pranks they pull on the detective they are eluding are also pretty humorous.

The movie definitely captures the 70's era well with its acting, dialogue and wardrobe. Superb acting by Dillon as the intimacy phobic, restless and highly superstitious ringleader, Kelly Lynch as his less than satisfied girlfriend, James LeGros as simpleminded Rick, and Heather Graham as the young ditzy neophyte who literally goes overboard trying hard fit into this group of merry prankster junkies.

This movie is a creative little exploration into the day to day routine and psyche of the junkie, so if you can't handle the portrayal of this reality, then this is another movie that isn't for you. Interestingly, William Burroughs plays a short role as a junkie priest, adding some penetrating social commentary towards the end.

As dark as comedy can come
Remember one thing when watching this film: DRUGSTORE COWBOY is a comedy; the darkest comedy for its time but a comedy nonetheless. It was a breakthrough in so many ways. Obviously, Gus Van Zant got a career going. Independent films were beginning to be taken seriously.But Matt Dillon finally proved that he was more than a chiseled face. His comedic performance here would be his best. "No hats on the bed!" Even though he was wildly funny in THERE'S SOMETHING ABOUT MARY, he's three times better here.

There are moments when I've felt that individual scenes are better than the whole. I love William Burrough's scenes as a junkie priest. In one scene, after one of Dillon's friends o.d.s in a motel, Dillon goes to unbelieveable lengths to hide the body in a crawlspace. Once he's completed this gruesome task, he realizes that the motel complex is surrounded by State Troopers--for a convention! The look on Matt Dillon's face is priceless.

Please take a look at this dark and funny film. Forget about some of the poorer qualities of the DVD (although they are annoying). DRUGSTORE COWBOY is worth the viewing.

drugs and thugs
this one is about 4 losers who rob drug stores for..............what else?................drugs!then they either take them or sell them.nobody important showed up on audition day.this is not a lifetime movie and can be enjoyed by the guys.it does look inexpensive like a lifetime movie though.it is not nasty like that movie with leonardo dicaprio where hes a junkie or trainspotting with thier lewd and disgusting scenes and dead babies.there are 2 really obnoxious people here.one is a slow kid from next door who keeps trying to hang with the big kids and the other is one of the main 4 characters who constantly screws everything up.the real deal is this movie is good.since no one else will say it,i will........if you want to make a good movie about heroin and other narcotics,just cut out the screaming rehab workers,the gay men in the bathroom stalls and all graphic displays of bodily functions.oh and no one AND I MEAN NO ONE is amused by the dead baby scene in trainspotting.so,my point is this movie follows that formula and is therefore good.

Dillon is bad to the bone
loved this movie with a fire. Im a huge fan of Matt Dillon's work and he gives probably the best performance of his career and he hasnt topped it yet. he plays a druggy and he has a girlfriend played wonderfully by Kelly Lynch and he has two friends, James LeGros and Heather Graham and he also has a cop on his ass played nicely by James Remar. later a stealing of drugs goes bad and Graham kills herself so Dillon wants to rehabilitate and start over with his life and he checks in and he finds out one of his former teachers is going there. Max Perlich also stars as a dimwitted drug dealer. powerful anf funny. the bet scene is where that guy comes out of his house and shoots the cop on the ladder

Independent Film making at its Finest
The best aspect of Drugstore Cowboy is that any sententious moralizing about getting high is kept to a minimum while the audience is left to make up its own mind regarding the pros and cons of tuning in, turning on, and dropping out.

Set in Portland during the early 70s; Van Sant has put together one of the finest independent films ever. Excellent quips such as Dillon's character referring to a young junky as a "TV Baby" make for a meaningful and scintillating script. It's also a humorous movie with certain scenes retaining an understated comic appeal. While the sets give a fantastic portrait of 1970s west coast junkie life.

The always intriguing late William Burroughs makes an appearance in the last quarter of the picture as Father Murphy, a well known old school addict who also happens to be a man of the cloth. The dialogue between him and Dillon's character is the high point of the movie; writing just doesn't come much better than this.

Drugstore Cowboy is simply brilliant all the way around and stands as an example of what American film making can achieve if the giant studios are kept from meddling in the artistic process.

It should be remembered that Burroughs classic book on the dope scene: "Junky", would make for a nice companion to the movie. ... Read more

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Although the confectionary does make an appearance at the end of the film, Turkish Delight, as a title, may be interpreted in a number of ways. This violent tale of love is told in flashback from the perspective of bohemian artist Eric Vonk (Rutger Hauer, collaborating for the first time with director Paul Verhoeven). When the film opens on a brutal attack and then a succession of one-night stands, it seems that the guy's a complete jerk. Then a sudden lurch backwards two years reveals the motivations for both his dreams and behavior, as well as the subject of the photos he spends his time pining for. He meets Olga (a fantastic Monique van de Ven) as the result of a car accident. But their tempestuous relationship is shaken by many peculiar events: a surreal wedding ceremony, unveiling a statue to the Queen and the death of Olga's father. The real problem is Olga herself, however, which leads to a shock ending many have compared to Love Story.

Somewhat dated now, and made long before his move to Hollywood, Turkish Delight is nonetheless unmistakably a product of the now-familiar Verhoeven style. The film's language and images still have the power to shock or offend, and we certainly get to see far too much of Hauer's private parts, even though some amazing visuals (mirrored candles, inspired