Reviews (281)

3.5 stars; Entertaining, Funny Film
Jerry Zucker's RAT RACE (2001), a new entry in the MAD-GUMBALL-SCAVENGER-CANNONBALL RUN tradition, is not the classic that the 1963 film IT'S A MAD, MAD, MAD, MAD, MAD WORLD was (& still is), but it is funnier and more entertaining than the latter three films combined (actually four, if you include CANNONBALL RUN 2). It stars the winning Breckin Meyer (remember him as the stoner-skateboarder in 1995's CLUELESS?) in his first starring role ever--quite a feat in a movie that also stars Cuba Gooding, Jr., John Cleese, Whoopi Goldberg, Jon Lovitz, and Rowan Atkinson!

Meyer is Nick Schaffer, a nice young guy who has just returned from his best friend's bachelor party and, of course, is asked when he will settle down himself. But good-hearted Nick, while not exactly a wild child, still isn't ready. However, while passing through a Las Vegas casino and finally tempted to put a quarter in a slot machine, he becomes embroiled in the adventure of his lifetime, as casino-owner/billionaire-boys-club organizer John P. Sinclair (Cleese) fixes certain slots to pay out six special tokens. These tokens have a room number printed on them, beckoning Schaffer, along with the NFL's worst referee (Gooding, Jr.), a harried mother (Goldberg) and her on-the-go-biz-minded daughter (Lanai Chapman), two party-dude brothers (Seth Green and newcomer Vince Vieluf), and a bumbling Italian funnyman (Atkinson, doing his best Roberto Benigni impression). Of course, these largely dimwitted characters are the unwitting participants in Sinclair's latest game to amuse himself and his billionaire buddies. The goal: find $2 million locked in a train station safe 563 miles away in Silver City, New Mexico---winner takes all, naturally!

Just as with all of the previous treatments of the same basic theme, the point of watching is not to see who wins, but to see what incredibly incredulous situations these greedy, wacky characters can get themselves into. See hapless referee Cuba Gooding, Jr. being even more hapless behind the wheel of a touring bus--of "I Love Lucy" conventioneers. See hapless dad Jon Lovitz who essentially kidnaps his entire family to join him on the ride, and ends up taking them on a tour of the "Barbie Museum" (which sets up this film's funniest series of gags, if not most controversial). See hapless Rowan Atkinson making mincemeat of the English language through his character's overly engaging Italian accent--and falling asleep at the least opportune times as he happens to be narcoleptic. Breckin Meyer essentially plays the straight man to everyone else's bunch of rodeo clowns, but his character is no less the [end] of the film's joke, as he gets into trouble with his too-trusting nature.

I will not give away any of the film's surprisingly funny scenes. I will simply say that although many of its characters are rather stupid, the movie itself is not. I laughed at the vast majority of jokes. So this isn't AIRPLANE or THE NAKED GUN--it isn't trying to be! It is, however, funny and fast-paced. Besides, you just can't hate a film that gives us cameos by wonderful stage veteran Kathy Bates and feminist attorney Gloria Allred! RECOMMENDED

10 star Modern day classic
Having grown up loving the classics It's A Mad Mad Mad Mad World with an array of well known comics and actors/actresses, we stumbled across this gem on a cable movie channel and fell in love with it, and needed to own a copy. The nice thing about the movie is it is dang funny, and on the edge without the vulgar language that so many modern comedies have. All the actors-actresses are excellent as is the dialogue, scenery and plot. If you are a fan of Rowan Atkinson (Mr Bean or Blackadder) or John Cleese,Whoopi Goldberg, Cuba Gooding Jr or Jon Lovitz and Kathy Najimy who play a husband and wife you will LOVE this movie.

My favorites are the Jon Lovitz and Kathy Najimy who play a husband and wife with 2 kids. I is one of the funniest we have ever seen. Their kids wanting to visit the "Barbie" museum which turns out for this Jewish couple to be the Klaus Barbie of Hitler fame museum and results in a quick get away in a car once owned by Hitler with swastika flags and all. You will laugh so dang hard. I laugh just thinking about their performances.

Then the whole Kathy Bates ... The Squirrel Lady and Whoopu Goldberg and the whole break the land speed record segment is a riot. Cuba Gooding Jr. ... Owen Templeton and the whole bus load of Lucys look alikes headed for a Lucy convention will have you laughing so hard. There is also a naughty but not vulgar scene with the two young guys, (one has piercing) and the two girls in the car where the one girl Tristin Leffler (Pierced Girl) shows the one guy driving that she has more piercings than him and he drives the car off the road and into a hilarious segment that will have the Nascar and trucker fans busting a gutt.

The nice thing is the ending .... not at all what one expects.

What the Heck?
This was the oddest, wierdest, strangest, dumbest, movie in the world! I LOVED (...) It was really stupied some of the things that happened like one of the guys found a bus full of I Love Lucy impersinators to that whole "Squirrel thing." But it's an awesome, hilarious movie and I loved it.

The Best
I go to the Movies twice a week since 2000. When I saw Rat Race in 2001, it was my favorite movie. Even though I see 2 movies a week (104 movies a year) Still that movie back in 2001 is still to this day my favorite movie. It was so funny! Best Movie for kids even better for adults! I bought this dvd last year and i watch it every day and it never gets boring.

I LOVE RAT RACE!

Good comedy!
The Hitler scene is probably my favorit movie comedy scene since I can remember, and though the entire movie doesn't have me rolling in the aisles, it's all worth watching. If you're looking for sophisticated and highbrow, this might not meet your fancy, but for everyone else I don't think you can go wrong with this comedy. ... Read more

Reviews (278)

Quirky, and sadly funny.
I haven't read the graphic novel "Ghost World," and didn't have any preconceived ideas about this movie before I saw it (that I know of).

"Ghost World" is the story of a slightly odd girl, Enid (played transparently by Thora Birch), and her obsession with the unloved things of this world, starting with her encounter with Seymour (Steve Buscemi), a fried-chicken company administrator by day, geekish collector of 78s and other miscellanea by night. It's also the story of the changes in the relationship between Enid and her not-so-odd friend Rebecca (Scarlett Johansson), who after high school, is rapidly transforming into a fairly mainstream adult.

The movie has an offbeat sensibility that is both funny and slightly jarring at times, but that delivers a very true-feeling story of post-high school "what do I do now?" syndrome. The thing I love about this movie is that, as opposed to the fake silicone slickness of most "teen" movies, this has a funny-sad real feel that represents the not often glorified underbelly of society. The film is populated with entertaining characters, from the pseudo-artistic art teacher (Illeana Douglas), to the bumbling soft-spoken father (Bob Balaban), to cameo characters such as "Weird Al" the fifties diner waiter, and Doug, the white-trash mini-mart loiterer. As Enid says, "these are our people!"

"Ghost World" is kinder than a John Waters movie, truer than a teen movie, and better than most similarly-true independent movies.

Accentuate the positive
Terry Zwigoff's "Ghost World" is that rarest of hybrids -- a human comedy, brilliantly and bizarrely funny, but suffused with a profound sense of melancholia. The experience of watching it is deliriously pleasurable, but the humor emerges from the film's unfailingly generous reservoir of empathy; by the end, you're not sure whether to respond to these characters with laughter or with love. It is quite clear that Zwigoff feels both.

And that's what critics of this fine film have overlooked -- that although 17-year-old Enid (Thora Birch) looks at the world with bitter, unremittingly sarcastic eyes, "Ghost World" couldn't be less cynical or judgmental if it tried. Of all the characters on display, most of whom Enid despises and ridicules, there isn't a single one who isn't really good at heart; even the art teacher (a ridiculously funny Illeana Douglas), who has been derided as a one-dimensional caricature, has an untouchable core of decency.

Indeed, the character for whom "Ghost World" retains the harshest criticism is Enid herself. As much as we adore her terrifying intelligence, her single-mindedly retro fashion sense, and her contempt for all things phony and pretentious, we aren't allowed to forget her self-destructive habits or her unwillingness to grow up even as the world around her charges resolutely forward. Her best friend, Rebecca (Scarlett Johansson), once her partner in crime, has taken on a normalcy and sense of perspective that Enid finds tiresome, which is partly why she takes refuge in a lonely middle-aged bachelor named Seymour (Steve Buscemi, in a shoulda-been-Oscar-nominated performance). Their bond is at once improbable and emotionally convincing, and Zwigoff harmonizes Birch's and Buscemi's own highly idiosyncratic styles into a marvelous, unforced chemistry.

Compassionate and subtly optimistic, "Ghost World" only falters slightly with a few misfired pop-culture references and an ending that's both ambiguous and too overstated, but even that misstep proves strangely satisfying. With a character as unforgettable as Enid, it's good to know that there's such a thing as closure -- even if it's open-ended closure.

A movie about ideas and people in the real world
Here's an unHollyowood film about life, roles, friendship and departure that transcends most of the trash available on the big or little screen. I saw this on TV last night, followed by the big screen spectacular "Three Kings". It was more than clear to me which film was about ideas and real life, and which one was a cure for insomnia. I'll talk about the one about ideas and real life.

Unlike the Amazon synopsis and Leonard Maltin's opinion, this movie is not about alienation. It is about a cynical high school graduate's attempt to find a niche to fit into when her world undergoes changes she cannot understand. Thora Birch ("American Beauty") is very good as the high school graduate with a dark view of everything in the world...until she meets milquetoast record collector Steve Buscemi. There is a good deal of cliche in this meeting but it serves to break the holocaust of darkness in her life, which is compounded by her best friend changing roles, her schlemiel father being an empty, vacuous figure in her life, and her indecision about what to do with her own life.

Birch focuses on loser Buscemi, trying to improve his lot in life. She successfully helps set him up with another woman, then injects herself in his life in a way to locate her own life when everyone she knows seemingly abandons her. When this fails, she follows the pattern of the only other stable role model in her life, a mentally ill middle age man who sits at a bus stop, waiting for a bus that never arrives. When his bus one day arrives, she decides to take it, too, as the movie ends.

This is Birch's final removal from the world, the alienation most critics disucssed. I prefer to think of it as role acceptance, as finding her niche, as getting to a place she wants. This very simple film portrays a reality for many high school kids that come from single parent homes and lack direction after school. It tells a real story in an uncomfortable circumstance. People that enjoy nice neat stories in films will be very distrubed watching this. People whose minds look for meaning in film portrayals will become more involved the longer the movie goes on.

ghost world
So I've been watching some cult type movies recently. The ones that are referenced all the time, or half the people on livejournal have an icon of. Ghost world is one of those movies. I had no idea what the plot was about before I watched it. ( I was hoping it would be a supernatural movie, but alas, it is not)
I think its a good drama with some funny parts. The characters are realistic and likeable. Some parts make you think, oh that's like me, or thats like how so and so behaves. Which isn't seen very often in movies, perhaps thats why people like this so much. I dont think it's arty, though. Parts I didn't like: the bus thing, and what happened when she got drunk, and her typical 'I'm unique, really' scene/emo look. The rest I liked pretty much. The part where her teacher is analyzing someone piece of rubbish art is very true to life (turner prize, anyone?). It's a nice comedy drama type movie, and I would watch it again. Good acting too. Thanks for reading!

Interesting movie--interesting characters
From reviews I'd read, I expected to be blown away by Ghost World--much the way I'd been blown away by American Beauty and Lost in Translation. I wasn't. It's a good movie, mind you. Interesting characters who feel very genuine albeit somewhat one dimensional, and an odd tangle relationships. It also very effectively captures the alienation of smart teens growing up in a world that seems populated by zombies of one kind or another. So, it's very much worthwhile watching it--maybe more than once. (I can't help but think of Thora Birch as a smart version of Kelly Osbourne from her dress and mannerisms in this movie. But that's neither here nor there.)

So what's wrong with it? What keeps it from being great? In part, it's the almost relentlessly brooding tone that keeps the characters from being fully realized human beings. Maybe, just maybe, there are people as unreliable, aimless, and alienated all the time--just like Thora Birch's character. But do we really need a movie about someone who is so malignantly morose? And no one else in the movie really picks up the slack, showing that intelligent people can be sharp and effective, as well as cynical. Without that counterpoint, the story has a mushy center, and starts to get--well--a little boring. ... Read more

Amazon.com essential video

Robert Crumb is known for his disturbing, yet compelling, underground cartoons: his most famous works made countercultural icons out of Mr. Natural ("Keep on Truckin'...") and Fritz the Cat. Terry Zwigoff delves into the odd world of the cartoonist in his documentary film Crumb, and the picture that emerges is not always pretty--at moments, it's almost repellent--but it's a fascinating glimpse into a very strange mind. Interviewing immediate family--Crumb has one suicidal brother, one semi-psychopathic brother, two sisters who declined to be interviewed, and a tyrannical mother--Crumb begins to look a bit saner. Given his surroundings, it's remarkable that he has survived so well. His hostilities toward women may turn some viewers off, but his wife, Aline, seems to be a grounding point, and she provides a solid counterbalance to the man.No one shies away from discussing incredibly intimate things (namely, sex!), which explains much of R. Crumb's cartoons. This documentary can definitely be considered a masterpiece for the cult crowd, and as for the rest of us, it's sure to make us feel a little better about our own lives! --Jenny Brown ... Read more

Reviews (51)

On behalf of Charles...
I own this film and I must say that I like Robert Crumb's taste in the blues and I share a lot of his views about the shallowness of American culture. He's a purist, creatively brilliant, and holds to his artistic values. Nevertheless, I couldn't help feeling that I would like to have seen him have the presence of mind to "lower" himself enough and get paid outrageously enough to do a lousy album cover every once in awhile so he could have perhaps helped his brother Charles to get the mental health care he needed and out of that gawd awful home environment with that crazy mother of his. Of course, if he had he probably wouldn't have been Robert Crumb with his all-consuming eccentricities and self-preoccupation with the female anatomy and big butts. Still, considering he was quite aware of being raised in a twisted family, it didn't seem to occur to him that he might have been in the position to help his two brothers reclaim their lives by throwing some major financial resources their way so they could have a better chance to overcome their sadistic father and demented upbringing. In his own way, Charles had his own genius and needed psychiatric care. Maybe RC tried and it just wasn't portrayed in the movie. On the other hand, I never got the impression the thought ever crossed his mind, because there's little evidence he thought about anything other than himself, his art, his immediate family, and outlets for his never-ending sexual obsessions -- or so it seems. If he had, I think I'd have more respect for him as a person than just as a supremely gifted artist.

Disturbing, shockling funny, and eerily hypnotic
Robert Crumb is well known as one of the pioneers of the underground comic book era of the 1960s, and his "Keep On Truckin'" logo is still well-known today. His comics were (and still are), bizarre, outrageous, shocking, and often offensive. But the story of real-life creator of such psychedelic highlights as Zap Comics and Fritz the Cat is so weird and unusual in itself, you'll remember it for a long time to come. (Robert Crumb describes the Church of the SubGenius as the only religion he could consider joining.) Terry Zwigoff's masterful portrayal of Crumb is presented in such a manner that even as you're shocked at some of the things he draws (e.g. Mr. Natural in "A Bitchin' Bod"), you see that compared to the other people in his family, he looks almost normal. It's presented in a modest, low-key style that you can't tear your eyes away from after you start watching it. The scene of Crumb's brother Max eating cloth while sitting on a bed of nails is strangely entrancing.

Thanks to Zwigoff for documenting the Family Crumb
What a fascinating family, so glad they let us glimpse their eccentricities head on, to me it was liberating. Here is a family of lovable oddballs, some coping with life more effectively than others. They are not made from a Picture Perfect American Family mold, for sure! In Robert Crumb's comics, surface normality and conformity is no guarantee that no desires and emotions, perverse and otherwise, lurk beneath. So I'm grateful to Crumb for having the moxie to put it out there in his drawings. Honesty is both healing and creative.

Keep on Truckin'...
"Crumb" is the sad and funny documentary of a damaged man who happened to find a beautiful and reasonably lucrative outlet for his peccadilloes. It's also the brutal portrait of two men - Robert's brothers - who were not so lucky.

"Crumb" offers amazing access to R. Crumb and his family, but the man himself remains an enigma - an entertaining and fascinating enigma, but an enigma nonetheless. Still, Zwigoff's probing camera gets behind the man and his art, his fans and detractors, and delivers a wonderful portrait of the man and a great appreciation of his work - even his most off-putting, misogynistic work.

But it's when Zwigoff talks to Robert's family that we see the true effects of a horrible, and horror-filled, childhood. Both of his brothers are intelligent and considerably talented, but they were unable to find a healthy outlet to escape a tyrannical father (his abuse is only hinted at in the movie), and their stories are deeply affecting - and difficult to watch.

So "Crumb" is either life-affirming or terribly depressing. I vote for the first option, which is why I'm the proud owner of the DVD. You wont find a much better documentary, or a more powerful drama, than "Crumb."

Great Documentary
Wow! I knew R. Crumb was off-beat, but I had no idea how much so. And his family is really messed up, much worse off than Robert Crumb. His siters refused to be interviewed forthe film, but his two brothers should be institutionalized. If you question your own weirdness and sanity, take a look at the Crumb family in comparison; It may cheer you up. Something totally worthwhile is the scene where Crumb is going through his older brother's comics and notebooks. Want to "see someone go insane?" Here you go. Warning, R. Crumb, and his friends and family's honesty is commendable yet some viewers may not appreciate the talk of masturbation, racial slurs, and gender roles. ... Read more

Description

Goldie Hawn wins the Comedy Medal of Honor in this box-office smash about a pampered, upper-middle class princess who joins "today's Army." Eileen Brennen and Armand Assante co-star. Year: 1980 Director: Howard Zieff Starring: Goldie Hawn, Eileen Brennen, Armand Assante ... Read more

Reviews (8)

An overhyped so-so movie that's really forgetable
A spoiled Judy Benjamin get's married to an ugly ... guy with an even uglier hairdo (white people can't wear fro's without looking ridiculous). He dies of a heart attack on their honeymoon as they make love on the bathroom floor. A smooth talking Army recruiter hears her sad tale on a radio talk show and offers to help her. After smooth talking her in his office, she signs up. Sounds like a real good story right? Well......

Judy's arrival at Ft Biloxi is funny as are other boot camp scenes... Once Judy decides to tough out basic, it just isn't a comedy anymore. She actually starts to get annoying.

After being given an ultimatum from her CO, (jump or screw) Judy jumps from the airplane. She cries [wolf] and gets an assignment in Paris. It all goes downhill from here. She meets up again with a snobbish Frenchman that she met in Biloxi (yeah I know). Well he's a communist and the Army wants her to stop dating him. She decides to marry him, then changes her mind once she's out of the Army. The final scene is her running happily down the road in a wedding dress acting like a 16 year old.

This movie is a lot like Full Metal Jacket in that after boot camp, everyone shuts it off. Bill Murray's 'Stripes' is a good example of 'interest after the boot camp scenes'. Maybe that's why the old TV show 'Private Benjamin' only dealt with boot camp type training.

THERE ARE WORSE WAYS TO PASS AN EVENING THAN WITH THIS FILM
This 1980s feminist fable is about the pampered and weak JAP (Jewish-American Princess) Judy Benjamin, who wants nothing more than to be married to a rich and successful man and be able to spend lots of money. She has been cared for by men for her entire life and has no skills, independence, or serious ambitions. After she is widowed, she falls for a recruiter's sales pitch and joins the Army, believing that it will be like going to a spa and will help her recover from the emotional blow of her husband's death. There is great comic potential here, but the movie lacks the sort of sharp writing that would have taken it to the next level. Nonetheless, it obviously strikes a cord with many viewers.

The first half of this film is inoffensive, sitcom-grade material. (In fact, a sitcom based on the film ran from 1981 to 1983.) Goldie Hawn's alternately cutesy/whiny act during basic training gets tiring quickly -- she's like a child who keeps begging for our attention -- and the film rarely manages to capitalize on the comic potential of the situations. Still, it does set up well how her parents' visit to the Army base reminds her of their degrading treatment of her, making her resolve to be the best soldier possible. We cheer for her to succeed. She does, of course, becoming a strong and independent woman in the Army.

The second, more serious half of the movie is somewhat more satisfying, as we watch Private Benjamin fight not to let her new French beau Henri bully her into reverting to her shallow, weak, pre-Army self. Her romance with the despicable Henri is the most interesting part of the film, in part because Arman Assante plays his part so well: charming but condescending and unfaithful.

The picture quality on the DVD is average for a film from 1980. The DVD includes the trailer and short biographies of the major actors. The film is captioned in several languages and can be heard with French dubbing. It does not include a widescreen version, just pan-and-scan.

Pouting Princess
Judy is in an extremely vulnerable state and when she calls into a radio show to understand why her life is in turmoil, an army recruter asks to meet her. When she arrives, she is obviously confused and wants to escape from her problems.

An assignment in Europe, getting into peak physical shape and living in her own condo sounds just too tempting. The reality of the situation is not so tempting. $458 a month hardly makes up for your husband dying on your wedding night. When she arrives at boot camp and says: "Is green the only color these come in? Where are the yahts?" You just fall in love with her character.

The disturbingly insensitive Captain Doreen Lewis is a comic treat all by herself, yet even with a whip in hand, not even she can compete with the pouting princess. Doreen wants to toss Judy right back into the arms of her parents. However, when Judy's father tells her she is not intelligent enough to make her own decisions, something changes. Private Benjamin decides to stay.

Some of the great comic moments are when Goldie is cleaning the bathroom with her electric toothbrush. I have stayed at an army base in Germany and trust me, they could have used a bit of toothbrush cleaning. My thoughts were that in the army, everything was spotless. Not! So, this movie was even funnier since I could totally relate to some of the experiences Judy had to go through. Another reason to respect our men and women in the military!

While this is mostly a comedy, there is some romance, with a sadistic twist. You know there is going to be trouble when Judy asks: "Am I making sense?" And her French Fiancé says: "No, and that 's what I love about you." You start to get the feeling that Judy is the only one who really knows what she wants and that no one else is listening.

Judy starts off running from her problems and ends up running from her problems. There are no real solutions presented, except to run. And maybe sometimes if you think about it, running is just a good idea.

Comic Entertainment at its finest!

Great Film! Poor Treatment!
Along with "Foul Play" this is one of Goldie Hawn's finest hours, playing a rich, pampered widow who is duped into joining the army. An hysterical comedy who's format has been returned to time and again, but never quite to this effect. Eileen Brennan is equally fantastic as the tough army officer you love to hate. I've been awaiting the release of this film on DVD for some time (along with Foul Play which hasn't yet been released), and it's here that I felt disappointed. For one, the only released version of this is in Standard Pan & Scan. I know some of you out there still cling to this outmoded format, but for the rest of us, this is unacceptable. At the very least, it should have been dual sided, with Widescreen on one side and Standard on the other. Secondly, they've done nothing with soundtrack other than present in Dolby Stereo 2.0. I realize that with some older titles, they don't bother to remaster the soundtrack in 5.0 (let alone DTS - the Ultimate sound format for your buck!), but I still think it's very lame that they do this. Anyway, there is a trailer, at least, but don't expect any deleted scenes, bloopers, or any other fancy features. The film can also be heard in French, but Spanish would also have been nice (there are at least Spanish subtitles). They've priced this relatively low (I guess because they knew what a lame job they did with it), but I'd have preferred a bit more of a higher price if it meant little more effort on their part for this truly classic comedy. Let's hope that "Foul Play" offers a lot more when it's finally released.

Half-comedy
Did anyone but me notice that this movie stops being a comedy the moment Judy Benjamin defies her parents and decides to remain in the army? From the very next scene through the conclusion, it becomes a deliberate feminist polemic and deliberately unfunny. Feminism is nice, but filmmakers seem either afraid to have too much fun with it or unable to keep from aiming over the top. (See Nine to Five and The Incredible Shrinking Woman for two other examples.) Eileen Brennan's scene in which she first meets Benjamin is the high point and (unfortunately and needless to say) comes early. As with Swing Shift, Hawn flexed her star muscles and did things her way -- to the detriment of the product and the audience. ... Read more

Amazon.com

The second half of this recording is an important item in the too-scantyvideo discography of Maria Callas. Matched with another great singing actor,Tito Gobbi as the lecherous, hypocritical Scarpia, she participates in a textbookdemonstration of how Act II of Tosca should be performed. Thereis a subtlety and nuance in their interactions that one seeks in vain in later,technologically more advanced videos. With a murder onstage, torture offstage,sexual harassment, and deep anguish (beautifully expressed in "Vissi d'arte"), this act provides rich opportunities for these performers, and they take fulladvantage. You may hear it better sung; you are not likely to see itbetter acted. The first half, a 1964 recital, offers less scope for acting, and Callas's voiceis slightly past its prime, but she performs impressively in the mezzo range intwo arias from Carmen.--Joe McLellan ... Read more

Reviews (6)

BRILLIANT!
It's the TOSCA segment that surpasses everything! Besides the superlative vocal aspect - it is her incredible acting that impresses ...... before the 'murder' - the partaking of a goblet of wine - just to 'calm' the nerves - then realizing that the alcohol is taking effect [stress?] she puts her hand over the glass - fingers twitch nervously ... etc. etc. GREAT subtext!

.... confused?

No, no - this rare example of Callas skills as a talented actress is not to be missed - often imitated - the original is the one to see.

Pity so little is left though.

"THIS is the kiss of Tosca!"
And she plunges the dagger into the breastbone of her tormenter, Scarpia, and then it gets really good. She rises
over him as he staggers back mortally wounded and roars, "Did you torture me enough?...And so I forgive you." Most everyone loves the firey brilliance and dramatic dash of a Callas performance, even if her voice isn't that pleasant sometimes. This is a pair of thirty-minute black & white BBC TV programs from 1962 and 1964, the first a concert consisting of three arias, and the second a staging of Act II of Tosca with Tito Gobbi (who was also the finest Baron Scarpia ever). Just a taste, then, of someone who needed to be filmed for her legend to be fully appreciated. If only they had captured her Norma and Lucia of the mid-fifties--JE REGRET!

horrible
I am stunned at the acting and even worst the singing. In the second act. Callas's gestures and body movements-awkward, and hutchback remind me of the wicked witch in snow white.
This is the biggest hype of all time.

O My Goodness!
I first heard about this performance (Tosca) nearly 30 years ago when I was a teenager and new to the world of opera. Since then it had stuck in the back of my mind, occasionally being brought intensely to the forefront whenever a snippet of it was shown during the occasional documentary.

Here it is, after three decades, it's going on 2 a.m., and I've had one of the most profound experiences in recorded opera.....whew!

First of all, this is a barebones dvd: Chapter list and some brief but interesting notes in the accompanying liner.

Then there are the performances...Callas in concert at Covent Garden in 1962. "Tu che la vanità" from Don Carlos, plus the Habanera and Seguedille from Act 1 of Carmen. Callas sings with the expected intensity in the Verdi, and with atypical jovolity and coyness in the Bizet, which are all ably conducted by the young Georges Prêtre. If this were the entire content of this dvd, it would be worth the cost.

But along comes Act 2 of Tosca, from two years later. Holy Toledo! Renato Cioni sings Cavaradossi just adaquetely, and not really serving a whole lot of dramatic purpose with a standard performance. Robert Bowman as Spoletta and Dennis Wicks as Sciaronne are better in their acting, but not very impressive vocally. The conductor, Cillario, leads without much insight...again, standard opera fare.

Obviously, the big bucks went to Callas, Gobbi, and Zeffirelli who all certainly earned their pay. Callas and Gobbi had seen better days vocally, especially Callas who, though in pretty good voice, sounds downright nasty here and there. But those very few exceptions are far and few in between.

Here are two masters, two artists at the very top of their craft, two legendary performers giving a definitive performance of sight and sound. From the beginning of the act, Gobbi dominates with a presence that few could ever hope to do. And when Callas finally enters, the sparks fly. Nearly every gesture, every vocal inflection, every subtle nuance carries weight that cannot be measured. There are very very few moments of stage mannerisms, so complete are their portrayals. While not always pretty vocally, they show off to the world why they dominated the opera stage during their prime. The intensity they create together is incredible, seldom letting up in the cat and mouse game they play.

Technically, the picture is good, but not great.Pretty good by early 60's television standards. The camera work for the most part is well done, save for a few instances of poor angles or exclusionary closeups that can be pretty frustrating.Overall, it is quite good.

Zeffirelli, the ultra conservative, directs a wonderful production,but when you go back in time, you see how little he really changes over the years.

For all it's relatively minor shortcomings, this is one of the greatest operatic moments on film. The earlier clips are priceless, but after a (literally) hair raising Tosca, you may barely remember them! 5 stars to the 10th power! Thank you EMI!

Tosca, finalmente mia! ...
Finally we have the 1962 Covent Garden concert on DVD (previously it was available only on VHS). Of course, for many Callas fans, the coulomb lapse at the end of "tu che vanita" is piece of cake, but this is not the only reason to have this sound document. Maria is relaxed and her voice is is good condition (you will not hear any problems in the upper register here). She is happy and that's all we need from and outstanding artist. One should physically see the young Georges Pretre (with whom Callas recorded in these years Carmen). He conducts in the very extraordinary way, especially the I and III Act preludes from Carmen. The (1964) II act of Tosca with Gobbi and Cioni is an valuable material where Callas shows that she is still THE Queen. Gobbi is a little in rush and one can see that he was getting old. You cannot compare this performance with the 1958 Paris Gala concert (also with Maria, available on DVD). There is not that charm anymore... But despite all the pros and cans, this DVD is an additional step in the journey of the Callas appreciation; and you know that video is always a big deal in opera. Buy it today and you will be fascinated with the presence of Callas! ... Read more

Reviews (177)

NOT AS FUNNY AS THE FIRST TWO
Scary Movie 3 is, obviously the third installment in the comedy/horror spoof series which skewers recent horror movies. In the third installment which stars Leslie Nielsen and Charlie Sheen, the targets of the jokes are "The Sixth Sense", "Signs", "The Ring", the matrix, "The Others" and "Darkness Falls".

The heavy targets are "signs" and "The Ring" with Charlie Sheen taking over the Mel Gibson role as the former minister. Leslie Nielsen plays the President in typical Airplane-esque fashion.

The jokes come rapid fire and there are a lot of sight gags and inside jokes that you might not get unless you saw the above movies.

Scary Movie 3 is a bit toned down than the first two movies and gets a PG13 rating for language and sexual content. Nothing too strong though. The opening sequence with former Playboy Playmates Pam Anderson & Jenny McArthy playing out the opening sequence from "The Ring" in dumb blonde fashion complete with their enhanced breasts in bras is a classic.

No classic, but good fun and several laugh out loud funny scenes.

Terrifyingly hilarious
After the success of SCary Movie 1 and 2, it would be inevitable that a third would be released, and Scary Movie 3 carries on the tradition of parodying the latest and greatest horror movies, but this one ventures away from horror movies in a couple of scenes, parodying the likes of 8 Mile and the Matrix. As always, the first scene nearly steals the show, having Pam Anderson and Jenny McCarthy playing the two girls at the beginning of The Ring. After the hilarious beginning, we find Charlie Sheen playing the part of Mel Gibson, who has 60 days to make a 1.50. Meanwhile, Cindy views the tape that kills people, her sister's kid Cody gets hit by countless objects, and Sheen's brother ventures out to become a white rapper. However, the movie takes a not to welcome break from humor for about 10-15 minutes, following the rap showdown. But the movie picks up again once Cindy meets the oracle with bad gas, and all this leads up to Leslie Nielson playing the president, who's trying to stop the alien's trying to kill the girl on the tape, after viewing it. This is a very funny movie, but it falls flat in some parts which is why I had to give it 4 stars.

"Sex, violence and the weather"
Loosely based on the summer blockbuster movies The Ring and Signs, and strangely enough, the Eminem film, 8 Mile, Scary Movie 3 provides more of the toilet humour and juvenile laughs that we have come to expect from this series. Unfortunately though, this installment is pretty light on the laughs. The first two movies were actually funny and clever, and although they were unashamedly audacious in their tackiness, there was a kind of enduring honesty to them that left the viewer chuckling for more. When watching Scary Movie 3, the viewer is more likely to be laughing in embarrassment, and wondering why Hollywood could malign and continue a franchise that has become so obviously tired.

If you've seen Signs or The Ring, you'll have a pretty good idea of the plot of Scary Movie 3. Like in the previous Scary Movies, lead actress Anna Faris is back as Cindy Campbell. This time, she's dropped into the middle of a combination alien invasion/ghost story. After watching a killer video tape, she has only seven days to live, and, in that time, she has to stop a deranged ghost living in a well, fall in love with a white, self-doubting rapper named George played by a bumbling Simon Rex, and help the President - a tired, embarrassed looking Leslie Nielsen - stymie an invasion by aliens who have a fondness for the corn field of a minister-turned-farmer, played by the desperate Charlie Sheen. Along the way, Denise Richards, Queen Latifa, and Camryn Manhem, Simon Cowell, and the big-breasted Pamela Anderson pop in for a visit.

Anna Faris is her usual perky, big-eyed self, Charlie Sheen appears somewhat ashamed to be in this rubbish, and Simon Rex is probably the unlikeliest and most unlikable love interest one will ever see in a movie. Then there's the sad case of 77-year old Leslie Nielsen, as a bumbling lame-duck president who spends his limited screen time trying to re-create the kind of comedic bumbling that became his meat-and-potatoes when he re-invigorated his career in the '80s. Now, this routine is tired, repetitious, and devoid of energy - which is a pretty good way to describe the movie as a whole.

Absent for this third installment are the Wayans Brothers who are replaced by David Zucker and his scribe-for-hire, Pat Proft, which is unfortunate because it is the Wayans Brothers gift for irreverent humour, that made the first two so funny, even though they were bordering on the offensive. There are about three or four genuine laughs in Scary Movie 3, and a lot of failed jokes in between. The comedy is lame and flaccid with characters that are either constantly falling over or bumping into things and there's a child that is continually hit by a car and thrown out a window. There's also some gross-out material and various indignities are performed on a corpse. The weaving together of the primary three storylines is done awkwardly, and the narrative is fractured and hard to follow. With so much of the humor failing, it becomes increasingly obvious that there's not much of a storyline to fall back on, and that makes Scary Movie 3 a gigantic waste of time and almost unwatchable. Mike Leonard July 04.

Better than Scary Movie 2 but that isn't saying much...
Scary Movie 3 works well over the disappointing Scary Movie 2 in many ways. A different cast of characters for the most part and better movie spoofs. But saying Scary Movie 3 is better isn't all that special since Scary Movie 2 was one of the worst movies I ever saw.

Scary Movie 3 is great humor at first. This one spoofs "The Ring", "Signs", "The Matrix", "The Others" and "8 Mile". Its funny really but only the first time around. The second time you get a chuckle and the third time you probably won't care for some parts.

The movie begins with a rather clever spoof of "The Ring", letting you know what the main spoof of the movie is. The movie then goes off into Cindy (yes the same Cindy from the previous two films). She finds this mysterious tape and watches it and learns that she'll die in seven days. Not unusual for anyone who's seen "The Ring".

The film also focuses on a Pasture that's lost his faith since his wife died in a car accident of a friend who fell asleep behind the wheel (clearly from "Signs"). The crops circles and aliens are there as well.

The THIRD and final focus is on a young boy who wants to be a rapper and hopes to make it in the movie business someday (clearly 8 Mile).

The humor in the film can be to die for. Not so much language and drugs in every scene but as far as sexual humor goes, this film STILL has a lot of that, in case you're wondering. It says "PG-13" but if you've got younger kids keep them FAR FAR AWAY from this movie as a lot of the kiddies will be asking questions to the sexual jokes they don't (and more than likely won't) understand.

But as I said, watching the movie again and again shows that you'll quickly forget it. The humor is nice but a lot of it is incredibly stupid! This is a movie that you go to only for the laughs and nothing more. If you were expecting a CLEVER spoof then you came to the wrong movie.

The DVD offers an alternate ending and if you watch it you'll learn just WHY it wasn't used. The alternate ending is shown to you unedited but it really isn't funny. After a while you stop laughing because it becomes too much and is clearly too stupid.

Overall, the average comedy lover might go for this movie but for someone looking for a smart humor film stay far away.

I see a ring! ... wait... wait... it's a big, fat zero!
Well, not exactly a zero. I admit, the crude, and often, sexual, humor of the Wayan Brothers always brings a laugh out of me. But unfortunately for the third movie of the "Scary Movie" series, this one is by far, the worst. As with most movies and series, the quality just keeps going down... and "Scary Movie 3" is not an exception.

"Scary Movie 3" uses "The Ring" and "Signs" as the main themes of the third installment. The beginning of the movie is exactly like the beginning of "The Ring" with Pamela Lee Anderson and Jenny McCarthy. It was pretty hilarious to watch, as also what the Scary Movies do is point out questionable and often, stupid, aspects of the movies that they are portraying.

Charlie Sheen and Simon Rex are two of the main characters in this movie, with the theme of "Signs". Sheen is an ex-priest living on a farm with his wanna-be rapper brother, Rex. Faris returns as the leading character in the film, as a news reporter. She represents Naomi Watts' character in "The Ring" who is a newspaper reporter trying to find out about the mystery of the videotape. Regina Hall also re-appears as Faris' good friend, who is now a teacher. There are cameos by Queen Latifah, George Carlin, Eddie Griffin, Denise Richards, and Leslie Nielson (Gun 1 1/2), are some of the actors/actresses that appear in the movie.

With ideas from "The Sixth Sense", Faris' nephew has an extrasensory sense that gives him the ability to see and know things that other people do not. Also, there is a part of the movie that uses "The Others". Rex's character portrays Eminem in "8 Mile", with a MC battle scene. It also uses ideas from "The Matrix Reloaded", with Queen Latifah as the Oracle and Eddie Griffin as Morpheus.

Faris' character begins investigating the mystery of the crop circles that appear in Sheen's field, and she discovers a mysterious tape that "kills" people. The story unfolds, character's stories are told, and aliens land on earth...

The movie had its funny parts, but most of it was corny and typical as they come, much like stale popcorn you get at the theatre. Most of the crude, sexual humor that made "Scary Movie" so popular is not there as much and neither is the signature "release" scene, which I was looking forward to but got disappointed when I found out there was no such scene in this one.

My advice would have been to keep it the crude, sexual humor that made the two predecessors so popular, and keep away from the corniness. Keenan Ivory Wayans apparently rushed the filming of this movie, wanting to complete it as soon as possible. It shows, very strongly, in the movie. Instead of making it even funnier, all they added was more cameos or eye candy, to keep the audience entertained. I'm sorry, but I did not take it.

I didn't bother to watch any extras but the alternate ending. It was a good thing that they didn't use this as the real ending, it was twice as corny. Rex turns into the Hulk, and Faris goes into the Matrix...

For any Scary Movie fans, it's something to watch, it's entertaining enough. But if you haven't watched any Scary Movies yet, I would recommend watching the movie in order. It also helps to make sense between the first and second one. I also noticed that there is no connection between the first two movies and the third one, except the return of Faris's and Hall's characters. ... Read more

Amazon.com

1995 had already seen the box-office success of sword-wielding heroes in Rob Roy and Braveheart when along came this glossy revision of the Arthurian legend, in which Lady Guinevere (Julia Ormond) is torn between her love for the noble King Arthur (Sean Connery) and the passionate knight Sir Lancelot (Richard Gere). As the story opens, Guinevere's lands are under attack by the evil knight Malagant (Ben Cross), and she must choose between marriage to Arthur and the security of Camelot, or encouraging the affections of Lancelot, who has heroically rescued her from a potentially lethal attack. Anyone looking for meticulous medieval authenticity won't find it here, but director Jerry Zucker (Ghost) keeps the action moving with exuberant spirit and glorious production values. Even if you don't completely believe Richard Gere as a somewhat too-contemporary Lancelot, the performances of Ormond and especially Connery are effortlessly appealing. --Jeff Shannon ... Read more

Reviews (114)

A few complaints...
This is the heart of Camelot, not these stones, not these timbers, these palaces and towers. Burn them all and Camelot lives on, because it lives in us. Camelot is a belief that we hold in our hearts.
-King Arthur

Prince Malagant (Ben Cross), a rebel knight from the Round Table, seeks to expand his empire and take over the lands of Guinevere (Julia Ormond). With her subjects at the mercy of Malagant's evil forces, Guinevere leaves her home to marry King Arthur (Sean Connery) and ask for his help and protection. But en route to Camelot, Guinevere's escort is ambushed and though Guinevere is almost carried away to Malagant, she is rescued by Lancelot (Richard Gere). A loner who lives by his sword, Lancelot is attracted to the soon-to-be queen, and Guinevere too feels herself drawn to him. What follows is the tale of a forbidden love which will bring about terrible consequences which might affect the outcome of the battle between good and evil.

*PLOT* - For those who love anything to do with Arthurian legends, this is a great film. But for those who are finicky about details, this is NOT the film for you! Besides having the legend of Arthur completely altered, none of the other famous characters besides Arthur, Lancelot, and Guinever from the stories of Arthur are present! Where's Merlin, Morgan La Fay, Mordred, Sir Galahad, Lady of the Lake, etc.? And though the Knights of the Round Table are listed in the credits (example Sir Gawaine, Sir Gareth, etc.), after watching the movie you won't be able to put names with the faces of any of the knights! This is in fact one of my biggest complaints with the movie, one of the few movies featuring the Knights of the Round Table and we're not even given a chance to know any of them! And on top of everything, the plot surrounding the romance between Lancelot and Guinevere was a bit too predictable! Lancelot starts lusting after her immediately after their meeting, and throughout the movie there's no real romance! I just felt that it was just a bit too unbelievable. Why in the world would Guinevere 'fall in love' with a man who even admits he has no real honor?

*ACTING* - Sean Connery is the real star of the film. With his Scottish brogue, great acting, and in general possessing the air of a king, casting Sean Connery as King Arthur was simply perfect. (a little trivia, Sean Connery also played a famous king in history when he played the uncredited role of King Richard in Kevin Costner's "Robin Hood: Prince of Thieves"). Whenever I finish watching "First Knight", I can't help but think Guinevere a fool to betray Arthur's love. I certainly have no complaints with Julia Ormond's acting. I thought she was marvelous, and she also has a lovely British accent which complemented her role as Guinevere. Unfortunately, as I said before, the romance didn't fall right. And Richard Gere doesn't quite fit the bill as Lancelot. Too American and too modern, and besides that, his acting wasn't top notch. Plus, I couldn't believe he was really in love with Guinevere because love requires respect. Besides not respecting Guinevere's wishes for him to leave her alone, he also doesn't respect that she is engaged to King Arthur. I also thought that the whole thing surrounding his promise that 'Guinevere will someday as him to kiss her' was stupid.

*ACTION* - Ah, the action is what really saves this film from being a total waste of time for movie lovers! Lots of excitement, "First Knight" is full of exuberant energy! The battles are well done, and the swordplay is loads of fun to watch! Though epic battle scenes and swordplay from the "Lord of the Rings" cannot EVER be beaten, "First Knight" is still enjoyable. Best fight is definitely the last part, especially between Lancelot and Malagant.

*PG-13 RATING* - The movie is rated PG-13 for violence and some innuendos. The violence is nothing too gory since the battle scenes are pretty quick. But the fight between Lancelot and Malagant might make some people a bit squeamish. The same can be said about the innuendos, though not bad at all compared to more recent films, the dialogue is obvious and suggestive at times. There is one scene though towards the beginning where parents might want to skip for younger audiences.

*OVERALL & RECOMMENDATIONS* - Overall, what you can expect from "First Knight" are loads of action and some nice swordplay. Unfortunately, don't expect too much to learn more about the Arthurian legends or find a beautiful and believable romance. Other movies I can recommend are:

-LADYHAWKE- (1985) One of the best medieval movies ever made! A wonderful tale with better action and a more beautiful love story. Director Richard Donner and starring Matthew Broderick, Rutger Hauer, and Michelle Pfeiffer. PG-13
-MERLIN- (1998) TV miniseries with a stellar cast follows the life of the famous wizard, Merlin. A much more accurate look of the legend of Arthur. Director Steve Barron and starring Same Neill, Helenna Bonham Carter, Miranda Richardson, and Martin Short. NR
-LOTR: FELLOWSHIP OF THE RING & THE TWO TOWERS- (2001-2002) An epic movie of grand proportions, the best battle scenes ever put on film. And when "The Return of the King" comes out in 2003, that will also be highly recommended I'm sure! Director Peter Jackson and starring Elijah Wood, Viggo Mortensen, Ian McKellan, and Christopher Lee. PG-13

A good love story...
First Knight isn't faithful at all to the story of Arthur and the costumes, lighting, and settings were all terribly modern, but the story itself was well done enough that the movie makes up for the rest of it.

It follows the story of Arthur, Guinevere, and Lancelot and thier journey from the time Quinevere and Lancelot meet by chance as her carraige is ambushed on her way to marry Arthur, through some more kidnappings, a wedding, and a knighthood, to the death of Arthur. Lancelot, who begins as a mercenary, grows a great deal as a character, while Guinevere's struggle to control her feelings for him is painfully clear. Sean Connery's Arthur is the kind of king one would expect of Arthur, kind, understanding, with a rigid set of morals that he cannot break even for his queen. Julia Ormond makes it clear that Guinevere loves both men and Richard Gere's sensitive performance and longing looks tug the heartstrings.

In essense, it is the acting and the love story that make this movie enjoyable. It is a remarkably un-historically accurate movie and there is not much in common, aside from the names, with the traditional Arthur legends, but these old stories are made to be interpreted. The romance of the movie is what makes it worth watching...that a Richard Gere looks really, really good.

Just Plain Bad
This is one of the most historically inaccurate movies I have ever seen. It is certainly the worst King Arthur movie that I have seen. I can not believe how bad this film is. King Arthur was a fairly young to middle age guy, but Sean Connery is in his 70's and looks like it too. The other Knights of the Round Table were also about the same age as King Arthur, but in this movie they
are of wildly different ages. The acting is generally poor with several of the actors being just plain wooden. The script is pretty bad too.

One of the worst aspects of this movie is the costumes and acting. All of the clothes look brand new and there are a number of instances where clothes that get dirty in a battle suddenly and mysteriously get clean again even though the characters are still on the battlefield. Evidently the actors could not stand wearing dirty clothing. Back in the days of King Arthur, knights wore chain mail instead of plated armor.

The final word: avoid this flick at all costs.

Accentuate The Negatives
The legendary story of Camelot and King Arthur has been told, and retold in various incarnations, over the years. Some of them, like Excalibur, and the television mini-series Merlin, were excellent in the way they handled aspects of the the tale. These examples are among the very best and have stayed with me. While I would like to put First Knight in the same league, I cannot, thanks to an annoying bit of casting.

Lancelot (Richard Gere) is a rogue with no ties, no enemies, and no fear-until he meets Lady Guinevere of Leonesse (Julia Ormond). She has promised to marry King Arthur (Sean Connery), not only because his armies can protect her country from evils like Knight Malagant (Ben Cross), but because she truly loves him. But her chance encounter with Lancelot as she prepared to enter Camelot stirs conflicting and powerful emotions within her. Arthur welcomes both into his city with an open heart, little foreseeing how his great capacity for love and trust opens the doors for his own betrayal.

First Knight marks the second time that director Jerry Zucker has traded in the laughs of Airplane! and The Naked Gun films for something a bit more dramatic. His first, was a little "mega hit" called Ghost, therefore his limited track record in the genre was off to a fine start. To be honest though, the main draw for me in the film, was the prescence of Connery, whom I have always liked and Julia Ormand. She made quite a name for herself in Legends Of The Fall. I knew both of these actors could make the most with the material. It's too bad that Gere had to be in the film. He must have went to the same school on how to use a bad surfer dude accent, as Kevin Costner did. This is not something that's easy to forget. It is so bad that it brought everything else down in the process. He makes it difficult to get into the film, without thiking that maybe Zucker is making a comedy after all. As usual Connery saves the day--commanding every scene he's in. Connery, Ormond, and Cross, who makes a good bad guy, are reasons to watch.

The DVD lacks extras. But you have the option of watching the film, in either the fullscreen or widescreen formats.

utter contempt for source material...
This film is an insult to the viewers intelligence and the Arthurian tradtion. I can not believe how awful this film is. Wooden acting, contempt for the source material, some of the worst period costumes and armour ever seen in a film and a scrip to bad they could use it for torture sessions... ... Read more

Amazon.com

Touted as "a movie about people who do stuff that is not normal," FrankZappa's Baby Snakes chronicles a late-'70s Halloween stand inNew York City (a zany enough proceeding in its own right) withdigressions throughout the first half for backstage antics, bandinterviews, and some outlandish clay animation from Bruce Bickford, withwhose work Zappa was obviously smitten. Onstage, Zappa is a live wire,the audience is appropriately rambunctious, and the band--an especiallypotent incarnation of the famous Mothers of Invention--is tight as couldbe. The film amounts to a three-hour musical carnival whose participantslack any trace of artistic or personal inhibition. Zappa, who died in1993, always worked with consummate musicians, and Baby Snakesshowcases the cream of the crop: TerryBozzio (one of the greatest drummers ever to command a kit), bassistPatrickO'Hearn, keyboard wizard Tommy Mars, and even pop chameleon AdrianBelew.

The DVD packaging, with its deluxe miniature dossier on Zappa and thefilm, is fabulous, and the sound and picture seem about as good as theycould be, under the influence--that is, the circumstances. Undeniableare Zappa's intelligence and charisma, which flicker and blaze everysecond he's on screen. The progressive-leaning rock and jazz music isfrequently interrupted for meandering spoken interludes and is certainlynot for all tastes. But Frank Zappa was a force to behold, and BabySnakes offers a unique cultural education for anyone bold enough togive it a spin. "Without deviation," Zappa wrote, "progress is notpossible." Baby Snakes is one of Frank's most ferventcontributions to progress. --Michael Mikesell ... Read more

Reviews (44)

Baby Snakes
Pros- 3 hours of Zappa!
Cons- Only 3 hours of Zappa...
If you're a hardcore fan or a casual listener, this DVD has something for you. The humorous songs, the wacky instrumentals, the extended guitar solos, the backstage footage, Terry's vocal performance on Punkys Whips, that girl in the front row...IT HAS EVERYTHING!!!! It even has white guys with afros playing keyboards! He looks like Disco Stu from The Simpsons! Believe that! If you like pointless clay animation by some stoned-out freak, it has that too. But most of all, it has Frank Zappa playing the role of musical genius, and that alone is worth the price of admission. If you work for Warner Bros., you might want to turn the sound down in certain parts, because BOY IS HE MAD AT YOU!!!!! Did you know Adrian Belew played in a crud band in Nashville? GET THE MOVIE AND FIND OUT HOW FRANK SAVED HIM FROM THE CRUD SCENE!!!! Also, there's panty throwing, if you're into that sort of thing. And a fat guy with a gas mask that washes a blow-up doll in a sink! How could you NOT want to see that? Ok, I'm giving away too much here. Buy the movie and all of this will make sense somehow.

Self-indulgent anyone?
Having seen large chunks of baby snakes before, namely the concert footage, i was looking forward to seeing the beast in its totality. And let's face it, the concert footage is the only reason to keep this dvd, because the rest is boring boring boring. All that Ms Pinky crapola, and the gas mask nonsense, and in fact any parts with the afro-wielding roy estrada, are serious fast forward contenders.

Then you have the wonderful Mr. Bickford with his amazing claymation creations. It's great animation but utterly directionless. It gets old real quickly.

Some highlights include Frank's soloing on black napkins muffin man and punk'y whip. The last hour of gig material is the cream of the dvd. Some parts of the concert are a bit tedious, like the poodle lecture, roy estrada, and some of the lyrics based songs like dinahmoe humm and disco boy.

We do get to see some of the fans. And some of them are a bit worrying. Especially that girl Angel, who clings onto Frank for sizeable chunks of the film. Scary.

A few words about the band. Excellent musicians one and all. But I found most of them annoying in the back stage tomfoolery. Terry Bozzio hams it up a lot, making funny faces and talking crap. adrian belew plays to the camera a bit too, and tommy mars. We don't see very much of Ed Mann and Peter Wolf, so we give them the benefit of the doubt. Patrick o hearn likewise. Roy Estrada however....

So if i had to change some things about baby snakes:
-sack roy estrada.
-more guitar soloing
-more instrumental music
-easy on the bruce bickford
-more shots of band in rehearsal
-more bandmember solos
-less onstage talky talky
-less of the sexual songs, which we've heard too many times and which become a bit boring
-maybe an interview with fz at some point, to give some focus

Picture quality-average.
Sound Quality-good if you have the equipment, but i've heard better.

But let's face it. This dvd is essential. It is by FRank Zappa.

(unless you're lukewarm about him, in which case-avoid!!)

5 stars by default
I basically agree with a lot of what theslime, the person who wrote the spotlight review, had to say. There are long segments of Baby Snakes that I regularly fast-forward. There is way too much backstage nonsense, only a tiny fraction of which is the least bit interesting. The animation is very stream of consciousness and I was bored with it at first but have grown to really appreciate what this guy was doing. However, what I want, and what everyone wants, and what Zappa should have known that everyone would want, is more concert footage! Get rid of the rest of it for all I care.

The footage that we do see and hear is extremely worthwhile. In fact, Baby Snakes might be the only legitamite release to contain any good live Zappa on film. Some of the tunes are not my favorite. I don't care about seeing a live version of Bobby Brown Goes Down or I Have Been in You. I would have liked to have heard more instrumentals. However, Baby Snakes is a long movie and there is plenty of great material as well as some charged performances by the young band (obviously having the time of their lives.) Some of my favorites include: City of Tiny Lights, Black Page #2, Punky's Whips (Bozzio's "Punky" is oscar-worthy), King Kong/Pound for a Brown (will Bozzio explode at the climax of his solo?), Black Napkins, Muffin Man, San Bernadino...There is plenty here to make up for the gratuitous filler.

This is the best live Zappa footage that I have seen and therefore it automatically gets the five stars.

tehnically & entertainingly superb audience experience
Dweezil and friends have acheived a great good deed in bringing Frank's big feature film to Zappa fans around the world, via state of the art application of DVD technology.

The whole film looks great, the actual performance is always fine and frequently truly astounding. I value that we get to know Frank as a consummate showman with sincere respect for his comrades and for his audience (that's us).

The 5.1 soundtrack gives the most realistic rendition of live concert sound you could ever hope for. The accompanying portfolio of info instead of a standard DVD booklet is a nice touch.

Moreover I am in awe of the effort put into this film by everyone - from Frank, the band and crew, through to Dweezil & co with their fastidious restoration. Well done.

Stef is a humorless retard
I saw this film at its original release in NYC 1979. If you don't get Zappa, then shut up and go away. It's supposed to be silly and then hammer you with impossible music.
Maybe Brittany Spears or Madonna will have a DVD more suitable for the tastes of creatures like Stef. ... Read more

Reviews (52)

Though Not Perfect, A Good Introduction To Opera
That should sum up the schism viewers have for Zefferelli's opera film starring Placido Domigo and Teresa Stratas. There is no question about the supremacy of the film visually. The famous Italian director has made excellent, quality drama and opera as film in the 60's, 70's and 80's; among them the 1968 Romeo and Juliet, Verdi's Othello (also with Domingo) and the 1991 Hamlet starring Mel Gibson. Zefferelli lavishes his films with artistry and lush photography, especially striking are his sweeping locales and precise camerawork. For Verdi's tragic romance, he has selected a fine location that is meant to resemble the French countryside, luxurious interior "ballroom" scenes, effective lighting and contrast, and actors and actresses that look the part. Vocally speaking, the only reason you should get this opera is the tremendous talent of Placido Domingo. He is the equivalent of Enrico Caruso for the twentieth century, an incarnation of the master, appearing handsome and earthy, as well as singing and acting his roles as any Hollywood star would approach the role (could they sing opera that is ). As the lovestruck Alfredo, his arias are striking and reveal great character, especially his "Un Di Felice", his "De Mei Bolenti Spiriti" "O Mio Rimorso" and his final duet "Parigi O Cara". Teresa Stratas looks the part, she is pale and delicate, exotically beautiful as the dying courtesan Violetta. But she has vocal limitations, especially in the higher registers. She has no warmth to her voice and has rather limpid, straightforward vocal lines. The role of Violetta is not an easy role for most sopranos- the heroine must sing most of the time in the course of three acts, and each characterization differs from the other- in Act I she is a flirtatious, bubbly and charming, even operetta-like heroine where her aria "Sempre Libera" demands coloratura fireworks, and her cavatina "A Fors E Lui" requires mellow lyricism. This same type of lyricism, although sung to serve the theme of pathos and dramatic suffering, should be very clear through her duet with Germont in Act 2. These are the arias "Non Sepete" "Ditte A La Giovine" and "Morro La Mia Memoria". In Act 3, she must convey her immediate situation, she is dying and taking her last breath, urges Alfredo to remember her name and to remarry, consuming the audience with the portrayal that although she has been a glittering, amoral prostitute, she will die with God's forgiveness and the joy of having fallen deeply in love. Though vocally this is not the best La Traviata, this is certainly a good introduction to opera. If you watch this film, you might be tempted to see a performance of La Traviata. For recordings of this classic masterpiece, you should go for your favorite soprano. Most go for Maria Callas and Joan Sutherland. I went for Beverly Sills, who sang the role a record 54 times in the space of 63 days, (no one but Sills could ever know the role of Violetta Valery) and who truly masters the role with dramatic, artistic value and sheer, tonal and vocal beauty. All in all, this is still a good film, despite the negative comments below my review.

La Traviata: Opera For Valentines
This 1982 opera-film is highly recommended. It's a perfect way to get into opera if you are a novice and seek to get deeply in love with opera. La Traviata might just do the trick. Franco Zefferelli was by this time a veteran Italian cinema director. He had directed such romantic classics as 1968's Romeo and Juliet. He has a flair for elaborate visuals and scenery. He selects gorgeous locations to shoot his films and drapes the characters with elegant costumes that they seem to come straight out of the 19th century itself. It's very clear that he spends much money and time on his films. He would also direct Shakespeare's Hamlet starring Mel Gibson in the early 90's. It was no secret that Zefferelli loved opera. An Italian man, the opera was a passion to him instilled since his youth. He loved Puccini operas and Verdi operas. Verdi's La Traviata must have been a real delight for him to direct and he always cast the best singers and actors. In this case, he was smart to cast Placido Domingo and Teresa Stratas as the tenor and soprano lovers Alfredo and Violetta. This opera is given a film treatment- there is enough room for the singers to act as well. The film is made in a retrospective style. Alfredo, the romantic lead, is remembering the one year he spent with Violetta and how she died tragically. It reminds me of the way that Baz Luhrman formatted Moulin Rouge, which has the same technique- boy meets girl, boy loses girl to death, boy is remembering their love story and re-telling it to an audience.

With opera, strong emotions are carried out through the dramatic musical score and through the singing, which is required to be sung with real feeling and passion. Placido Domingo, quite possibly the world's greatest tenor, sings with real substance and real passion, which we are inclined to believe springs naturally from his Spanish heritage. Placido Domingo is sensational as Alfredo, his romantic yearnings expressed in the Brindisi, in the "Un Di Felice" duet, throught Act 2's Flora Party's scenes and in the later portions of the opera, especially towards the end. Teresa Stratas, a Canadian soprano with exotic looks (she reminded people of Maria Callas) has an equally gorgeous and dramatic voice. It's greatly to her credit that she's a beautiful woman as well as actress, who can convince the audience as a frail, glamorous beauty who gives up the courtesan life to live with her true love only to meet with an ill fate. Suffering of tubercolosis (or possibly a sexually trasmitted disease like syphillis but Verdi was'nt going to shock everyone with that much information in his opera) Violetta hides her secret torment by giving herself over to decadent pleasures. She lives it up during the Belle Epoque in Paris as a high-class hooker, owns a villa in the country and has many lovers. But she finally finds meaning in her life when she falls in love with Alfredo, a gentleman caller and one-time client of hers. But Alfredo's father disapproves of their love simply because Violetta is a courtesan or has had a past as a lady of the night. He convinces Violetta to give up Alfredo. The tension builds as Violetta and Alfredo are temporarily seperated. For Violetta, tragedy strikes. She becomes increasingly ill to the point she is confined in bed. Teresa Strats delivers her best work in the last act, in which she is reunited with Alfredo only to die in his arms. Her "Addio Del Passato" is heartbreaking as is her death scene, even if she may lack the brilliance and vocal fireworks for the Act 1 aria "Sempre Libera" and even perhaps the "Amami Alfredo " farewell scene. This is a perfect film to watch on the day dedicated to love- Valentine's Day.

The Supreme La Traviata: A Masterpiece
This is without a doubt the greatest version of La Traviata ever produced.On DVD, it's unbelievably gorgeous and features production notes and cast bios as well as a trailer. The forces behind this masterpiece are responsible for its greatness- Italian director and designer Franco Zefferelli, tenor Placido Domingo, soprano Teresa Stratas and baritone Cornell McNeil. The singers are at the top of their game, Domingo is a young, sexy Alfredo and Teresa Stratas IS Violetta Valery in a performance that even Maria Callas would envy. Zefferelli had Maria Callas in mind when he cast Teresa Stratas. Like Callas, Stratas has a Greek background through her parents though she was Canadian born, she has the same type of voice and she is in Zefferelli's own words "an electrifying actress and soprano of the lyric entertainment". The Callas connection is most obvious when Stratas appears in a black veiled gown in Act 2 at Flora's party where even her hair is similar to Callas' infamous 50's performances.

Released in 1982, Zefferelli sought to "convert" people into opera lovers through the lush visual seduction of the cinema. This is exactly what he did. The cinematography of this film kills you with excessive beauty. The opening credits roll as we see scenes of Paris in the Notre Dame Cathedral area and surrounding residential district by the Seine river. The interior of Violetta Valery's mansion, where she hosts the Act 1 party, is luxurious and Zefferelli allows us to be dizzied with the sheer opulence of the house- gilded mirrors, portraits of Violetta, curtains, chandeliers etc. Visually on film we are able to tell things about the characters that stage performances do not, for example as the guests depart from Act 1's party, an old woman steals a silver box from Violetta proving to us that Violetta is not among real friends, these are only fair-weathered friends and bad ones at that. They were not even there for her when she was dying in the finale.

The beginning of the film has Violetta reminiscing about the better days as a desirable and wealthy courtesan who partied all the time. She is deathly ill and already her house is sold and men are moving her things out. The country scenes are incredibly beautiful as Violetta and Alfredo live happily in seclusion. Alfredo rides his horse and Violetta picks flowers for her greenhouse and feeds her white doves in their big cage. Cornell McNeil's bombastic but fatherly Giorgio Germont is a great support to the refined performances of Domingo and Stratas. The Flora's party scene is exceptional with even more visual beauty as Gypsies and bullfighters dance seductively and professional gamblers enjoy themselves. The closing ensemble is not to be missed and neither is the melancholy and tragic ending. Conductor James Levine leads the Metropolitan Opera Orchestra and Chorus. Once again, this is the greatest and ultimate version of La Traviata ever made. It is a must have for opera fans and for curious non-opera lovers. Other films Domingo made after this film are Carmen in '84 and Verdi's Othello in 86. Teresa Stratas is the greatest Violetta and she will win your heart with her convincing performance as the sickly, passionate and self-sacrificing courtesan whose love for Alfredo redeems her and gives her happiness even if she dies at the end.

Almost perfect
I loved this film. Only about 20 minutes were excised from the score, it was nearly complete. At greater length in the other reviews can be read descriptions of the ballet, breathtakingly beautiful scenery, particularly effective arias. Domingo and Stratas were wonderful. I have Stratas in Boheme on DVD (to replace my original VHS), it made me cry. Traviata made me cry. Can you call anything so painful beautiful? The music was of course glorious. The principals acted and sang to perfection, and of course frail diminutive Stratas looked the part. The movie began interesting, then became wonderful at the first party with the drinking song, then lost interest for me for some time, then picked up again and never let up. The camera-work and crowd scenes were brilliantly done. (I don't like to use the word "brilliant" because it sounds so affected, but I will.) I resent the reviews that call this a good introduction to opera, as though it were somehow inferior to "real opera," I find it condescending, supercilious, pompous and demeaning. However, I gave a copy of the movie to a close friend of mine who also cried, watched it twice and loved it, and this was I think her first opera. It is very beautiful music, well-acted, well-directed, well-sung and with scenery beyond belief.

Traviata agotada
Parece que la extraviada (Traviata)realmente esta muy enferma al final ya que la escena esta incompleta. esto no deberia asombrarnos ya que Zeffirelli hizo algo peor con su Otello con su recortada aria del Sauce. Excepto este detalle no tan importante como el Otello, la pelicula es muy bella aunque para los puristas, entre los que me incluyo humildemente quizas por mi condicion de Profesor de Apreciacion Musical, encuentro en ella tal como note en la Carmen de Migenes y Domingo, ruidos innecesarios que en la presentacion en un teatro serian imperdonables; al fin y al cabo lo importante es la musica y no los extras caprichosos de Zeffirelli. A pesar de estos pequenos detalles la presentacion es maravillosa; las cuatro estrelas en vez de cinco obedecen a estas para algunos quizas necedades. Para mi repito, soy un purista y pienso en la intencion siempre del compositor. Recomiendo la version de Beverly Sills y ni se diga la de Angela Ghiorgiu, superiores excepto los tenores ya que Placido Domingo sigue siendo el mejor. ... Read more

Reviews (58)

Hiliarous movie!
This movie is incredibly funny! It's a movie that pulls no punches, and will hit you square onto your funny bone. Kurt Russell's best role, starring as Rudy Russo, a used car salesmen who's ambition is to run for congress. Rudy works for a guy named Luke Fuchs, who owns the used car lot. His brother, Roy Fuchs, owns another lot directly across the highway. There's one thing Rudy must do before going to the Capitol Building - he first must protect the used car lot he works at before Roy claims the property, which would ultimately be used as part of a new new highway, which would increase business for Roy's lot. Roy will stop at nothing, even murdering his own brother! The script is amazing, the plot is original, and you'll finally know the schemes a used car salesman will employ to get you to buy a total klunker. Toby the dog is a riot! The dog, alone, had me rolling on the floor. Jack Warden puts on a great, great dual-performance as the rival brothers. 'Lenny' and 'Squiggy' from "Laverne & Shirley" star as friends of Rudy's. Al Lewis, the beloved 'Grandpa' from "The Munsters", stars as a mean, tobacco chewing judge. If you are into great movies, don't rent this one... *BUY IT* as part of your video collection!

Buckle up for a great ride down a cheap highway
"Used Cars" is the mother, or ugly stepmother, of great American bathroom humor. Long before the politically-correct craze of "Forrest Gump," director and co-writer Robert Zemeckis spit up "Used Cars" with a little help from executive producer Steven Speilberg. Not quite sweet enough for 'Gump-isms,' "Used Cars" explores the seedy world of the car lot and the stereotypical husslers running the joint. With gags that include strippers atop automobiles, reeling a customer across a busy city street with $20 hooked to a fishing line and a commercial jammed during a presidential address, "Used Cars" rips apart middle America to the tune of 50,000 laughs per second. Kurt Russell shines as the cheeseball in charge in one of his first post-Disney era films. Russell gets plenty of support from an ensemble cast that includes Gerrit Graham, Frank McRae, Joe Flaherty, Deborah Harmon and David L. Lander and Michael McKean (better known in the early 80s as Lennie and Squiggy). However, the real salesman is veteran actor Jack Warden who easily handles a dual role of twin brothers with competing car lots. Although not likely to appear on Zemeckis's or Speilberg's Oscar-winning resumes, "Used Cars" is hilarious, sharp and clever. I consider this vehicle one of the greatest comedic rides ever made. Trust me.

A gut busting classic!
BEHOLD! PERHAPS THE GREATEST COMEDY EVER MADE,USED CARS IS A MUST HAVE ON DVD.I DONT UNDERSTAND WHY THE BONUS FEATURES ARE NOT LISTED ABOVE SO HERE THEY GO:VINTAGE ADVERTISING GALLERY,AUDIO COMMENTARY:ZEMECKIS,GALE,RUSSELL, OUTTAKES,RADIO @ TV PROMOS,PRODUCTION NOTES AND A COOL THING FOR TRUE FANS OF RUSSELL,A TV AD FOR THE ACTUAL CAR LOT,WITH THE REAL OWNER INTRODUCING RUSSELL WHO THEN GIVES A SALES PITCH FOR A CAR ON THE LOT!

one of my favorite movies
"well i don't wanna look inside". "ohhh, just get in the motherf_ckin car". i lose it everytime that part comes on. this movie is such a riot. if you havent seen it, check it out.

Hilarious Movie - Great DVD
Where do I start? "Used Cars" is one of those "movies for guys who love movies". I have watched it who knows how many times, but I still get a kick out of certain scenes almost 25 years later. But there is an added bonus now if you buy the DVD, an hilarious commentary track with director Bob Zemeckis and actor Kurt Russell along with Bob Gale, who co-wrote the screenplay with Zemeckis.

The movie features Russell as Rudy Russo, a used car salesman with absolutely no morals (OK, most used car salesman don't have morals, but Russo takes it to another level). Jack Warden takes on dual roles as twin brothers trying to win the battle of used car lots at the same corner. Garret Graham plays Russell's sidekick Jeff who tries to help Rudy move the cars through illegal television commercials, which are absolutely hilarious. Other performances of note are those of Deborah Harmon, the daughter of one of the twins who wins Rudy's heart, Joe Flaherty from Second City as an unscrupulous lawyer and Michael McKean and David Lander (of Lenny and Squiggy fame) as techno wizards who assists Russell and Graham in their illegal activities.

All of the above are great, but the two who steal this movie are Frank McRae, who plays Jim the Mechanic and Toby the Beagle. McRae may say less than 2