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At least one of the episodes collected on volume 15 of The Twilight Zone DVDofferings is an all-time classic--if by classic we mean the kind of showthat still produces a shudder of recognition years after viewing. This is"The Midnight Sun," an apocalyptic tale in which a cosmic event has hurledthe earth toward the sun, sending the thermometer to 120 degrees and thepopulation into despair. Aside from the twist ending and the attractivesweating of Lois Nettleton, what's likely to be remembered from this episode, is the haunting image of an oil painting melting with the heat. Other episodes in this collection, all scripted by series creator RodSerling, emphasize bravura acting. In "Escape Clause," gracefully directed by Hollywood pro Mitchell Leisen, the whimsical David Wayne plays ahypochondriac whose anxious life is changed by the arrival of Death (veteran heavy Thomas Gomez). Soon the indestructible hero is courting exotic ways ofdestroying himself, just to alleviate his boredom: "Let's give the electric chair a little whirl," drawls the blithely curious Wayne. The claustrophobic"Nervous Man in a Four Dollar Room" takes on technical challenges typical of The Twilight Zone. It never leaves the confines of a tiny, shabby hotel room andleading man Joe Mantell plays much of the dialogue with a mirror image ofhimself. The point of the episode is somewhat monotonous, but Mantell'sperformance, as a loser facing his last chance at decency, is fully juiced. "A Kind of Stopwatch" shows what happens when a loudmouth pest (RichardErdman, the annoying personification of the can-do man with ideas) comes into possession of a watch that can stop the whole world in mid-motion. Justice eventually is meted out, per the usual scales of The Twilight Zone. --Robert Horton ... Read more

Reviews (3)

Pretty Average DVD
Midnight Sun is the best Zone episode on this DVD. The rest are okay but not all that special.

Four stories of desperate people in "The Twilight Zone"
Desperate people in desperate situations abound in Rod Serling's four scripts presented in Volume 15 of "The Twilight Zone" DVD series. In "Escape Clause, " David Wayne stars at hypochondriac Walter Bedecker, who strikes a deal with Mr. Cadwallader (Thomas Gomez), a.k.a. the Devil, to receive immortality and indestructibility in exchange for his soul. Of course, Bedecker soon realizes he has gotten a raw deal. "Nervous Man in a Four Dollar Room" features Joe Mantell as Jackie Rhodes, who has been ordered by a gangster to murder the owner of bar. Knowing he does not have the guts to refuse the order and that he will be caught if he commits the crime, Jackie looks in the mirror and discovers looking back at him a DIFFERENT Jackie Rhodes, who is the better man he could have been and who now wants out into the real world. Lois Nettleton turns in a wonderful performance in "The Midnight Sun" as Norma, who is trying to survive in her New York City apartment as the Earth moves closer and closer to the sun. Of course, there is an ironic twist at the end of this tale as well. Finally, there is Patrick Thomas McNulty (Richard Erdman), a man who does not know when to shut up in "A Kind of a Stopwatch," based on an unpublished story by Michael D. Rosenthal. The whims of fate, in the presence of a strange little man named Potts (Leon Belasco), give McNulty a remarkable stopwatch. Press the button and time stops for everybody in the world except him. Unfortunately, the man is not the equal of the gift. One of the better theme discs in this series, these are all above average episodes of the Zone.

The "Superb Zone" Volume 15
This volume is by far one of the best available today. The episodes "Nervous Man in a Four Dollar Room" and "A Kind of Stopwatch" are worthy episode done in the typical Zonie fashion. While "Escape Clause," starring: David Wayne (well-known for playing the Mad Hatter on the 60's television comedy: "Batman") plays a hypochondriac, who sells his soul for immortality. The episode offers a bit of twisted humor that only "The Twilight Zone" could pull-off tastefully. However; it is episode "The Midnight Sun" that steals the show! Timeless situation about two women who are faced within a hopeless situation. The Earth has changed its orbit, and is drifting closer to the sun. Knowing the inevitable is soon at hand, the two depend on each other for survival. How long can they survive? How long can they remain sane? This episode makes you think: "what if this really happened? " Also: for you fans of Lois Nettleton, the scenes of her sweating in her under-garments is very sexy; it is worth buying the dvd just for that. Out of all the volumes I want to own, I bought this one first! ... Read more

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What happens when "a poor, raggedy-old private from the Confederates" and "a big important general from the North" spend the night at McCain's ranch, stop being polite, and start to get real? You get "The Sheridan Story," one of five vintage, black and white 1958-'59 episodes from this classic Western series' first and second seasons. Chuck Connors stars in his signature role as Lucas McCain, who settles down on a North Fork, New Mexico, ranch with his son Mark (Johnny Crawford). In these episodes, outlaws and hired guns keep McCain and his trusty Winchester busy, while Mark learns about manhood ("It's staying alive and in your right senses," McCain explains). A highlight of this collection is Vic Morrow doing his Brando bit as Johnny Cotton, who buys himself a lot of trouble when he robs McCain and steals his rifle in "The Angry Gun." Sam Peckinpah directed "The Money Gun," in which ornery cuss and McCain nemesis Oat Jackford stands up to a gunman hired to kill him. "The Mind Reader" boasts appearances by John Carradine, as a traveling showman, and Michael Landon, as a young man falsely accused of murder. But the best is saved for last. "Bloodlines," directed by Arthur Hiller, stars Buddy Hackett--yes, Buddy Hackett-- in a guest appearance as the brutal patriarch who comes gunning for McCain when one of his three psychopathic sons is killed in a bar shootout. For Rifleman fans, these episodes are of the highest caliber. --Donald Liebenson ... Read more

Reviews (2)

A little short on action...
The Rifleman Volume 2 contains five more episodes of the popular series, but the overall quality of the episodes is not as good as the Volume 1 collection. If not for the presence of a couple of really nasty villains, and some hilarious outtakes, you could probably pass on this disc. Here's a rundown of the episodes with my ratings from one to five.

The Angry Gun (5): Vic Morrow stars as an escaped outlaw, who has stolen both Lucas McCain's money, and his precious Winchester. Morrow is marvelous, exuding pure evil, and showing little feeling for either friend or foe. He is about to finish off the Rifleman with his own gun, when Lucas's just in the nick of time ingenuity saves the day.

The Sheridan Story (2): This one is aimed at the heart. A disabled Confederate veteran turns up at the McCain ranch. Later, General Sheridan, the man who wounded him also arrives at the McCain's. Both men confront their past deeds, reflect on the tragedy of war, and then even begin to try to heal old wounds. This one's short on action and long on words.

The Money Gun (2): Jackford is a man with a lot of enemies. One of them brings hired gun, Tom King (John Dehner) into town to kill Jackford. King and McCain are old acquaintances who don't like each other. Lucas and Micah must do what is necessary to keep the peace. Too much posturing, and not much tension in this one. The ending is weak. Not one of Peckinpah's better efforts.

The Mind Reader (2): A man is shot in the back on the streets of South Fork, and a young Michael Landon is held for the crime. Lucas tries to find out who really did the deed. John Carradine is a travelling mind reader who seems to know something about who committed the crime. Though the identity of the real killer is a surprise, the episode really doesn't deliver much of a punch.

Bloodlines (4): Three brothers take things a little too far in the town saloon, and one brother ends up dead when Lucas and Micah intervene. Funnyman Buddy Hackett guest stars as Daniel Malakie, the father of the boys. And Pa is in a mean and nasty mood. First it's a jailbreak and then cold-blooded murder, as the Malakie's go on a rampage of revenge. This one has plenty of action, with the scruffy Hackett even getting a much-needed bath.

Volume 2 has bonus features, the most notable is a four minute long clip of outtakes that gives you a real taste of what the set was probably like. Very funny, with music track, and lots and lots of profanity. The Rifleman set was probably one big "boys club", with too many guys cooped up together, for too long. So we get Chuck Connors joking about kissing other men, and swearing up a storm. Great fun, but definitely not for the kids.

I've said before, this is mainly for the guys. Once again, almost no women are featured in these episodes. Only one actress even has any lines! Get this one only if you're a hardcore fan, otherwise wait for Volumes 3 and 4.

We hope for further volumes in this outstanding series!
MPI Home Video breaks new and welcome ground with the launching of a series of classic television programs in a DVD format for the home entertainment market. The Rifleman was one of the most popular of the westerns that dominated a early decade of American television and starred Chuck Connors as Lucas McCain and Johnny Crawford as his son, Mark McCain. In Volume 2 (0-7886-0323-X, [amt.], 145 minutes) we are treated to "The Angry Gun"; "The Sheridan Story"; "The Money Gun"; The Mind Reader"; and "Bloodlines". The DVD format allows viewer bonuses which include cast biographies, a Rifleman photo gallery; episode outakes, and English subtitles option for the hearing impaired. We can only hope for further volumes in this outstanding western series drawn from television's yesteryears! ... Read more

Amazon.com essential video

The Killer
John Woo's 1989 Hong Kong action classic, a stylish, bullet-riddledelegy to friendship under fire, firmly established him as the maestroof mayhem. Superstar Chow Yun-fat, Asia's king of cool, plays the mostcharming hit man ever (and yes, he only takes contracts on those whodeserve it), but when one of his killings leaves an innocent nightclubsinger (Sally Yeh) blinded, he dedicates his life to giving her backher sight. Danny Lee is the cop on his tail, but the two adversariesbecome unlikely comrades when the mob decides to cancel its debt toChow by taking him out, leading to a beautifully filmed and incrediblyviolent confrontation. Woo places the showdown in a church andpunctuates the acrobatic gunfight with images of religious icons,flying doves, and burning candles. An ode to Jean-Pierre Melville'sexistential gangster classic Le Samourai, Woo's delirious mix ofmelodrama and stylized action recalls the balletic bloodletting of SamPeckinpah, the elegant camerawork of Martin Scorsese, and the operatic,larger-than-life grandeur of Sergio Leone. Woo's love of Americanmusicals (and his own background as a dance instructor) adds a touch ofgrace to the fluid choreography of the action scenes. In terms of sheeraction, Woo topped himself a few years later with Hard-Boiled,his Hong Kong swan song, but most critics still rate The Killeras his masterpiece. --Sean Axmaker

Hard-Boiled
Masterful Hong Kong action director John Woo (The Killer,Face/Off) turns in this exciting and pyrotechnic tale of warringgangsters and shifting loyalties. Chow Yun-fat (The ReplacementKillers) plays a take-no-prisoners cop on the trail of the triad,the Hong Kong Mafia, when his partner is killed during a gun battle.His guilt propels him into an all-out war against the gang, includingan up-and-coming soldier in the mob (Tony Leung) who turns out to be anundercover cop. The two men must come to terms with their allegiance tothe force and their loyalty to each other as they try to take down thegangsters. A stunning feast of hyperbolic action sequences (including aclimactic sequence in an entire hospital taken hostage),Hard-Boiled is a rare treat for fans of the action genre, with sequencesas thrilling and intense as any ever committed to film. --RobertLane ... Read more

Reviews (31)

4 Stars for Killer, 2 for Hard Boiled
In terms of sheer number of bullets fired, Hard Boiled has far more action than the Killer. Some of the gunfights are really spectacular. If all you want is gunplay then it's a movie worth renting, but not something you should buy. The problem with Hard Boiled is that after the opening gunfight it starts to resemble Walker: Texas Ranger in both realism and plot. I actually found myself laughing at the sheer stupidity of it (particularly the save-the-babies part at the end). And while John Woo's movies have never been the most realistic, this one is just plain silly at points. (I could never understand how the main character's shotgun blasts have more power than most claymore mines) But it is cool to watch the gun duels. On the other hand, the Killer has less violence but wins out on story. You actually care about the two heros and want them to survive. There are some scenes that are quite tense. And while the gunfights are less spectacular, they are more meaningful because you care about the people involved. Another plus for the Killer is the gunfight in the church. While Hard Boiled's duels took place in a sterile hospital with fake flames, this one's setting looks real and has a much grittier feel to it. I return to my title: 4 stars for The Killer, 2 for Hard Boiled.

Classic...
These two films... in my opinion... are the pinncale of Woo and Fat's achievements. The two must collaborate on a Holywood production... Replacement Killers just lacked the intensity and story of these Classics. The Killer has more of a plot... and has better character development. Killer, Cop, love interest/victim... and the bad guys. The action choreography and cinematography have become their own genre... distinctly Woo. Action galore and sound acting performances. Hard Boiled is my personal favorite of any HK flick... because the first shoot-out scene is the best ever. Bird cage... stair rail and lots of guns. The story revolves around a cop and an ex-gangster taking down a crimelord. Not much in the story but has sound performances. The story drags between the action sequences. Woo ties in all his brilliant stunt choreography and cinematography in this film as well with better settings than the killer making this a more action orientated film. A must in any action library... something you will never tire of watching.

not very good
this movie is plain bad. yes good gun fight but where's the kung fu. Theirs plenty of american made film that are way better in terms of action sequence. Man even the gun fight in Face off was much better then the killer or hard boiled. Maybe im not into old fashion gun fight like in these two movie, i would rather watch a movie like ballistic kiss, great gun fight, some kungfu and a little special effect. I don't care if the killer or hard boil was made 10 or 20 years ago. It's just didn't live up to my potential. This is the 21st century, i need some special effect. I don't understand why some of you people keep living in the past. trust me their are way better mivie then these two and were made in the 70 and 80. Take for example the God Father 1 and 2, much better movie then these two, go and recomend this movie for the customer not some lame movie like killer and hard boil. As for chow yun fat check out my review for Hidden dragon crouching tiger.

Why Put Two Movies Together?!!!
I love both movies here, but why not release them individually,DVD 2-packs are a pet peeve of mine. Somtimes you just want each film treated with individual respect, and sometimes you may just want 1 movie and not both!

JOHN WOO'S HARDBOILED/THE KILLER
HARD BOILED IS A VERY GOOD MOVIE, THE LOVE STORY IS REALLY A NICE ONE, AND THE HOSPITAL SCENE IS REALLY RIVITING! THE KILLER IS MY VERY FAVORITE. I BOUGHT THESE TOGETHER AND WATCHED THEM OVER AND OVER. ANY CHOW YUN FAT FAN WILL LOVE THEM BOTH. ... Read more

Reviews (101)

Pretty Good
Both movies stir the imagination but the second one lacks the originally of the first. It was a pity almost none of the original actors in the first one, didn't come back for a second go.

Wow!
Wow! What more can i say about this box.First you have "Jurassic Park" which i say is wort at least 5 stars then you have "Lost world" which i give 4 stars. This box is entertaining for the whole family(maybe not the youngest) with all that the family needs. Great story, massive effects and very good actors. I think that this is what i call a modern classic. A must have in the collection for all movie lovers.

Two in one!
We all loved the Jurassic Park saga and I know most of us are highly anticipating the DVD release! Even better, they've put them both in a package deal for us to save space! Can't WAIT!

one of a kind
This movie is ahead of its time for special effects. Since then nobody has come up to the brilliance of ILM for the magic of making me believe that there really were dinasaurs on that screen.Spielburg was innovative and imaginative. Order these for your collection. You won't be sorry.

First DTS Film
It is a excellent movie and build up a new era of 3-D scientific film ! ... Read more

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Not enough people went to see True Crime in theaters.Wasn't ClintEastwood too old to be playing a guy whom a variety of glorious women, from the middle-aged Diane Venora and Laila Robins to the young Mary McCormack andLucy Liu, find attractive?Could the onetime Man with No Name credibly playa brilliant crime reporter, Steve Everett, with an ironic turn of phraseand an incurable habit of screwing up both his personal and professionallives?The respective answers to those questions are: hell no and hell yes. True Crime features one of Eastwood's best and most entertainingperformances--and his work as director is utterly assured.

The story (from Andrew Klavan's bestsellingnovel) gives Everett thelast-minute assignment of interviewing a condemned man (Isaiah Washington) onthe eve of his execution.The prisoner, a born-again Christian and exemplaryfamily man, has everything the reporter lacks except a shot at seeing thenext sunrise.Everett sets out to get him that, yet far from making abeeline to the exculpatory evidence that will save the life of his "client," thisvery tarnished hero has to spend a lot of the next 24 hours contending with the baggage he's accumulated through drinking, wenching, and familialneglect.(A Pirandellian note: Everett's daughter is played by Eastwood'sown daughter, Francesca Fisher-Eastwood, and her mother, Frances Fisher,returns for a feisty cameo as a prosecutor.)

This is a good one that got away.Don't let it happen again. -- Richard T. Jameson ... Read more

Reviews (43)

Eastwood returns to directing
Eastwood's directorial debut was "The Unforgiven", a stylistic return to the glory days of the western. This time he has entered a new one, films about the death penalty. Eastwood plays a barely-sober hack newspaper reporter. His character is very enigmatic, although I think that was much more to do with Clint than with the story. He is walking a fine line between being a brilliant asset to the paper and being fired. You see, he has a tendancy to go on crusades, and he is about to embark on a fresh one with his current writing assignment. His job is to write a "human interest sidebar" about the execution of an accused murderer. The problem is, Clint thinks he's innocent. Is Clint stupid for going off half cocked? Is he just being reckless with his career, or is he brave in standing up for what he beleives is right? These are the questions the film asks us to contemplate as Eastwood gets clues and revelations about the case. I like to see Eastwood in this type of role, which is quite similar to that burgler one a few years ago. A low key guy struggling with his role in life. Quiet and subdued, he constantly wonders about what is the right thing to do. I was never a fan of "Dirty Harry", or those Sergio Leone films. We see a rare raw side of Clint Eastwood the man here, instead of Clint Eastwood the cardboard cutout. The title says it all, this is realistic, not superhero fantasy.

Worth seeing for stellar supporting cast performances
This is a decent, if not stellar, movie rental for those who like mystery/morality plays. I rented the video and then bought a previously-viewed copy to keep because of the fine support performances by Isaiah Washington and Lisa Gay Hamilton; these 2 tug your heartstrings with their portrayal of a loving couple facing the ultimate separation of an enforced death penalty. If you have the patience to sit through all the side stories (and there are way too many) told to illustrate that Clint's character is an aging hack without a personal life or moral conviction to speak of, then you'll see some great acting by Washington and Hamilton, as well as James Woods as Clint's editor. Other stupid side stuff: the inclusion of Clint's ex partner, their daughter, and his current wife in cameo roles and some haggling-for-money-sexual harrassment scenes by a homeless man intended to be humorous but which were just annoying and dragged the movie out still further. In conclusion, this film needed a much tighter editor/story but the supporting cast still makes it worth viewing.

Clint Is Still Number One
Clint Eastwood's 1999 release, True Crime, was based on an Andrew Klavan novel and filmed in a style that reminds me of movies made in the late 70's or 80's. As I watched the first few minutes, my first thought was that poor Clint was to old to portray the part of Steve Everett and this movie had been a waste of money. At first, it actually kind of "creeped me out" watching him come on to the beautiful young women in the movie, but you cannot always judge the movie by your first impressions. Steve Everett is a cheating husband, a horrible father, a recovering alcoholic, and a womanizer, but he is, first and foremost, a newspaper reporter with a "nose" for the truth. His boss, Bob Findley (Denis Leary), assigns him to cover an execution as a human-interest story. Bob has a hard time working with Steve, knowing that Steve has been sleeping with his wife, and struggles to maintain a professional office relationship. Steve has a hunch that Frank Beechum (Isaiah Washington), a black man convicted of the murder of a pregnant white girl, is innocent, but only has one day to come up with evidence before the execution takes place as scheduled. The plot to this movie is predictable and has been done in other movies many times, but Clint Eastwood's skill as a director turns this otherwise "dog" into a suspenseful thrill ride. The performances of Isaiah Washington and Lisa Gay Hamilton are precise and moving. James Woods is hilarious and Francesca Fisher Eastwood, Clint Eastwood's daughter in real life, is adorable. Michael Jeter, Michael McKean, Bernard Hill, and Diane Venora also give great performances and help make True Crime a very good movie that is definitely worth 127 minutes of your time. Oh, and about my first impressions, I was wrong, Clint is not too old for the part or the beautiful young women. Clint is still number one.

Eastwood Is The Man
Another great Eastwood directed film with terrific performances by everyone in the cast especially (i.e. Isaiah Washington, Lisa Gay Hamilton and James Woods). Eastwood is one of my favorite directors ever. If you are in any way familiar with an old radio show called "Nightbeat" this film is very similiar. This one has a very suspenseful ending.

A RACE TO THE FINISH
Okay, let's get two sore points out of the way: Yes, Clint is really a little too old for the leading role, especially in pairing him with such young ladies; and yes, James Woods goes way over top in his cartoonish role as Alan, the editor in chief. But, aside from that TRUE CRIME is an astounding work for the director Eastwood. The real stars of the picture, however, are Isaiah Washington and Lisa Gay Hamilton. As the doomed but innocent Frank Beecham, Washington controls his performance, making him both heartbreakingly real. No overacting here. He uses his face, his body, his voice to convey the hopelessness and fear of his impending execution for a crime he did commit. Hamilton as his wife, Bonnie, has a very demanding role, and her grip on this character is unbelievably subtle and intense. Some real tear-jerking scenes in this one. Hard to believe Washington and Hamilton were overlooked at Oscar time. Denis Leary is exceptionally good as Eastwood's boss who finds out his wife is sleeping with Eastwood. Leary could have taken this over the top, but he again controls the anguish, jealousy (both professionally and personally), and doesn't resort to familiar tactics. Bernard Hill as the warden, Michael Jeter as a key witness, and Michael McKean as a really scuzzy minister also do well.
Also, the lovely song voiced by Diana Krall, should have made it to the Oscar nominations too! Her voice reflects the hopelessness and despair of the film's script. The writers should also be commended for its faithfulness to Andrew Klavin's excellent novel.
A very good film and worth seeing.
IT MAKES YOU STOP AND THINK ABOUT THE DEATH PENALTY. ... Read more

Description

Relentless rogue cop "Dirty Harry" Callahan finds himself chasing a ritualistic killer to a rural Northern California town. When Harry is spinning his wheels, it's his new partner Horace Kind that steers him in the right direction. Together, they race to catch the killer in a head-on collision of good vs. evil. ... Read more

Reviews (29)

THE BEST DIRTY HARRY IN THE SERIES!
After the disappointing Enforcer from 1977, Sudden Impact is without doubt the best episode in the five Dirty Harry films - excellent storyline, well played soundtrack, well-used locations and of course a strong cast. The climax of the film is truly well staged and blends the taut, seriousness of the film throughout. The story of a rape victim seeking revenge on those that carried out the attack certainly brings the best out of Sondra Locke.

Once the film was released, Clint Eastwood was universally acclaimed for bringing such a delecate subject to the cinema. It was a gamble that had hansomely paid off.

Clint himself is on top form and plays it vintage style, like the first Dirty Harry. The best line has to be the:- "Go Ahead - Make My Day". Harry's dog - Meathead brings some light moments to the script as does his scene with Bradford Dillman.

Great support too from Eastwood film veteran - Pat Hingle.

It is no suprise that Sudden Impact is to this date the highest grossing Dirty Harry episode.

Harry's worst adventure.
After Harry lands on a mafia hit list he is sent to the small town of San Paulo (actually Santa Cruz, CA) to investigate the background of a murder victim. What Harry uncovers is a serial killer settling a score.

Clint Eastwood doesn't like repeating himself, so it is no big surprise that the Dirty Harry movie he directed resembles the others in the series very little. It is largely set outside of San Francisco and his character has little to do with the actual plot for the first forty or so minutes. The action is nicely handled, but the story's pace is turgid - thanks in large part to Joseph Stinson's sloppy and underdeveloped screenplay. When Eastwood revealed that Sudden Impact was turned into a Dirty Harry movie late in the rewrite game, I was not surprised. The tape holding his character into the story in first few reels is quite evident. Harry fans will want to have this in their collection, but I just don't think it is as fun or exicting as the other movies in the long running series.

Trivia - Bradford Dillman makes his second Dirty Harry appearance in Sudden Impact. This time out his character is named Captain Briggs, although he played Captain McKay in the 1976 entry The Enforcer. Briggs was actually the name of the vigilante team leader in the 1973 sequel Magnum Force. Whether this is a knowing wink to that thriller or just sloppy continuity, I am not sure. But I'm edging towards sloppy continuity myself.

Nearing the End of the Callahan Trail
This is the fourth of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiable values and unorthodox methods had remained essentially the same. The title of this film really makes no sense: None of the actions has a sudden impact. On the contrary, directed by Eastwood, the plot gradually develops to the inevitable climax. After still another controversial incident, Callahan is required to take an extended leave-of-absence and finds himself in a small coastal town where he meets Jennifer Spencer (Sandra Locke), a serious painter with even more serious emotional problems. Years ago, she and her sister were the victims of an especially violent rape; the sister remains comatose in an institution. Spencer is determined to locate and kill the rapists. One of them is the son of the local sheriff (Pat Hingle) who, for obvious reasons, discourages any interest in the case. He especially resents Callahan, "a big shot city detective" who attempts to investigate one of the several local murders.

Of special interest to me are two evil characters, Ray (Audrie Neenan) and Mick (Paul Drake), with whom Callahan has his final confrontation. Both are despicable and thus deserving of Callahan's singular application of justice. In this and other films, Locke's acting skills are clunky, at times almost laughable, especially when juxtaposed with the performances by Neenan and Drake. Bruce Surtees' cinematography is outstanding. His previous work includes Dirty Harry and Play Misty for Me (both in 1971) and The Outlaw Josie Wales (1976). He teamed up with Eastwood later with Pale Rider (1985). Surtees' excellent work plus several memorable scenes explain my rating which would have been higher, had the plot made more sense and had another actress (other than Ali MacGraw) portrayed Spencer. To me at least, both Callahan and the series are by now getting a tad long in the tooth.

Good movie
I really liked this movie and found it to be very enjoyable.

Good Plot is What Makes It Different
There is only one Dirty Harry movie for me, and that is the first one, the Don Siegel's version. The mixture of the first Dirty Harry is just too well (the charismatic Harry Callahan, the dangerous Scorpio, intense relationship between Scorpio and Callahan), that the other four only practically try to borrow Harry Callahan "tough-attitude" in a different background. I'm not saying this to say that the other sequels are bad, is just that i've seen those sequels more as a 'separate, different action' movie from the original Dirty Harry. Because i'm not expecting another Dirty Harry movie, but just merely a good action movie, then i'm not dissapointed nor feel betrayed when watching Sudden Impact. It has just the right thing that make this movie as a 'better movie' if compared to the previous Enforcer or Magnum Force...a good story, something that is rarely found in the present day action movie.

It told a story of a woman who avenge her sister by killing her sister's rapers...and here's where Harry Callahan steps in, not as Harry Callahan that we know in the good old 'Dirty Harry', but as a detective who have to face his inner morale question on the right of that woman to avenge her sister, and his obligation to arrest a murderer.

So to all of you who really want to see Dirty Harry, well go directly to the real thing..the first Dirty Harry. To all of you who want to see more action...well you have to see Magnum Force or The Enforcer....but for those who wish to see an action movie with a touch of good story, well here it is. Of course the action is there...and its a good one too (particularly the finalle shoot out in fun park near the beach)..there is also some mob issue that Callahan wanted to nailto add up more possibility for action sequence....and you can still have some good one liner's from Eastwood such as 'Go ahead make my day'..but all of those were not as 'heavy' as its two predecessor. But then again, the action and the story is balanced prety well, thus makes Sudden Impact is very enjoyable. Eastwood directing is moderate but sufficient...i'm in the opinion that this movie is far much better then Eastwood recent work, 'Blood Work'.

Recomended for those of you who like action movie with a better plot and deeper character, unrecomended for those of you who wish a 'total shoot out' . ... Read more

Reviews (61)

Great movie to start off the series
"Lethal Weapon" pairs one of the best duos ever seen in a movie. A suicidal cop (Mel Gibson) and an aging veteran cop (Danny Glover) have to team up to investigate a case of a woman that jumped from a building to her death. They also have to battle some bad guys and catch other criminals on their way. However, not all is smooth sailing when the duo first meets. They must learn to get along and accept each other's styles if they want to get the job done.

"Lethal Weapon" couldn't have been done much better to start the series off at a fast pace. It has a lot of funny and action packed sequences in it. Some of the best are when Mel Gibson shows his ability to shoot a gun at target practice and the ending sequence.

If you like the "Lethal Weapon" series or action movies with a sense of comedy in them, I recommend getting "Lethal Weapon."

A good film gets better
The recent release of the director's cut of Lethal Weapon add depth to the film by the inclusion of approximately 7 minutes of new scenes. The additions are in the beginning of the film when the characters are still being developed. In one scene, Gibson's character walks into the line of fire of a sniper, and in another he has a rather violent reaction to a commercial on TV. In the context of this portion of the movie, it further establishes the pain Gibson's character is going through and his mental state...is he crazy or just not caring what happens to him? Additional scenes also establish Glover's character's concern at growing old...does he still have it?

The balance of the film is pretty much unchanged. Lethal Weapon is a fun buddy action/comedy movie, but shines more than the sequels, which emphasized comedy and cartoonish action. Gibson and Glover actually act here, Gibson in particular in the scenes where he is struggling with his wife's death. The interplay between the actors makes this movie a cut above the standard action movie.

Lethal Weapon (1987)
Director: Richard Donner
Cast: Mel Gibson, Danny Glover, Gary Busey, Mitchell Ryan, Tom Atkins, Darlene Love.
Running Time: 105 minutes.
Rated R for cop violence and language.

The ultimate in the cop-buddy action flicks, Richard Donner's "Lethal Weapon" is still an essential part of the action-drama genre to this day. Mel Gibson stars as the unstable, suicidal cop who is still grieving the tragic death of his wife, but finds purpose when he is teamed with over-the-hill Sergeant Danny Glover to investigate the mysterious death of a small-time hooker that jumped/was thrown off a building.

As the duo dives deeper into the case, they realize they are in the middle of a tense, big-time drug traffic arrangement and they are up against some tough cookies (namely Gary Busey and Mitchell Ryan). Gibson is great as the reckless Martin Riggs, using his insane tendencies as adrenaline throughout the film, but often also showing a sofer, tender side that produces a lot of laughs. Glover is his equal as Murtaugh, who feels that he is at his last stand as a police officer, but tags along because he feels his duty as a cop is unfinished. An excellent script by Shane Black and an explosive, taut directorial effort from Donner. Has lost some of its mustard due to numerous sequels and imitations ("Rush Hour" anyone?), but still an extremely fun action-adventure that will delight all those who are Gibson fans and love to laugh and gasp.

One of the best of the genre
Lethal Weapon is one of the best films of the action genre, blending off-beat humor with surprisingly expressive acting and tense situations. Though much of the plot is over the top, and the casualness of the gunplay (as Danny Glover asks Mel: "have you ever met anyone you didn't kill?) seems like it should make the movie too unbelievable to be good, the humor with which the situations are treated pulls the film together easily. Even though the scenes added in the director's cut don't add up to a much longer movie, they do further the character development of Mel Gibson's character. Notably, the sniper scene shows the audience the extent of Gibson/Riggs' emotional disturbance, and lends a deeper character credibility during the confrontation between Riggs and Murtaugh after the rooftop jump, in which Riggs explains that the only thing restraining him from suicide is "the job." Riggs is seen more clearly in this version as a modern gunslinger, a victim of depressed and unstable victim of circumstance who decides daily to keep on living only because he stubbornly refusus to let the bad guys win. Glover plays well opposite, and he does a very good job interpreting a man confronting middle age, family responsibilities, and his responsibility and desire to be a good cop despite the changes in the world that are occuring around him.
The humor is, at the end, what ties this film together. the punchlines seem to come at the tensest moments, though for the most part they avoid the cheesy one liners before blowing the bad guys away. They simply arise out of the context, and do not feel artificial. Busey is also good, and he can really act the part of being one mean SOB. The action is spectacular, and the end fight scene is extremely well choreographed, as the crew hired one of the infamous Gracies (A brazillian family who define modern mixed martial arts) to help out with it. One of my favorite movies of all time, and easily the best of the series, Lethal Weapon defines the action genre in a way that hasn't been seen since.

The Greatest Action Film of All Time!!!!
This movie starts out the way all great movies should... From the moment you make eye contact with the nips you are sucked into it. And then theres the crazy awsomeness of Martin Riggs. The school sniper scene very cool. And then theres Roger Murtog a great character, we are introduced to him in the bath tub where his family seems to wind up hanging out with him every movie. Am I the only one who thinks they are alittle TOO loveing. All that aside Roger is an awsome character. The more these movies go on the more the better the chemistry between these two cops. By the time you get to the fight with Riggs and Mr. Joshua at the end you will be trying to keep from shouting at the screen and rooting Riggs on. Good stuff ... Read more

Reviews (44)

Second-to-None
We've all had days where we wished we could escape our ourselves and our lives, to be someone else somewhere else. But even if it were possible, could we really start over? Seconds asks and answers that question - some might argue quite cynically - through some of the most searing and surreal images and dialogue on film, in a story both jarring and emotionally resonant because it tells truths about humanity.

Without giving up too much of the plot, it is difficult to convey just how profoundly disturbing and haunting this film is, even after multiple viewings. From the pipe-organ score by Jerry Goldsmith that breathes with an eerie, heretic fervor; to the distorted faces in the titles by Saul Bass; to the stunning wide-angle black-and-white photography by James Wong Howe; to the peerless direction by John Frankenheimer; and of course, to the career-topping performance of Rock Hudson as the protagonist striking the faustian bargain to trade in his humdrum, middle-age existence for a new beginning, this film is simply one of the most overlooked and underrated gems of '60s cinema.

That it was made nearly 40 years ago is evident because of the film's many on-location shots, but the movie transcends its era and its genre (science fiction?) because it deals with timeless themes and a premise that in today's world of cloning and biotechnology seems increasingly plausible (at least physically). Seconds also remains more chilling than Frankenheimer's more popular masterpiece, The Manchurian Candidate, because it speaks poignantly about something we can all identify with: identity.

The new DVD is very much worth the price of admission: the picture transfer is really superb, and the sound isn't bad relative to most films of its time period. The disc also contains a trailer and a commentary by Frankenheimer. While Frankenheimer's thoughts are informative, I was disappointed that he focused mostly on technical aspects of the movie (e.g., "here's James Wong using the wide-angle lens again . . . ). I wish he had provided more insights about plot and thematic elements; maybe he thought these were better off left to the viewer to figure out. You likely won't be able to rent this one at Blockbuster, because unfortunately it remains a cult classic only.

Seconds is director John Frankenheimer and lead actor Rock Hudson's finest hour, and I can't recommend it more highly. This is one movie that will make you think differently about yourself, your life, and your loved ones.

Second to None
We've all had days when we wished we could escape our ourselves and our lives, to be someone else somewhere else. But even if it were possible, could we really start over? Seconds asks and answers that question - some might argue quite cynically - through some of the most searing and surreal images and dialogue on film, in a story both jarring and emotionally resonant because it tells truths about humanity.

Without giving up too much of the plot, it is difficult to convey just how profoundly disturbing and haunting this film is, even after multiple viewings. From the pipe-organ score by Jerry Goldsmith that breathes with an eerie, heretic fervor; to the distorted faces in the titles by Saul Bass; to the stunning wide-angle black-and-white photography by James Wong Howe; to the peerless direction by John Frankenheimer; and of course, to the career-topping performance of Rock Hudson as the protagonist striking the faustian bargain to trade in his humdrum, middle-aged life for a new beginning, this film is simply one of the most overlooked and underrated gems of '60s cinema.

That it was made nearly 40 years ago is evident because of the film's many on-location shots, but the movie transcends its era and its genre (science fiction?) because it deals with timeless themes and a premise that in today's world of ..biotechnology seems increasingly plausible (at least physically). Seconds also remains more chilling than Frankenheimer's more popular masterpiece, The Manchurian Candidate, because it speaks poignantly about something we can all identify with: identity.

The new DVD is very much worth the price of admission: the picture transfer is really superb, and the sound isn't bad relative to most films of its time period. The disc also contains a trailer and a commentary by Frankenheimer. While Frankenheimer's thoughts are informative, I was disappointed that he focused mostly on technical aspects of the movie (e.g., "here's James Wong using the wide-angle lens again . . . ). I wish he had provided more insights about plot and thematic elements; maybe he thought these were better off left to the viewer to figure out. You likely won't be able to rent this one at Blockbuster, because unfortunately it remains a cult classic only.

Seconds is director John Frankenheimer and lead actor Rock Hudson's finest hour, and I can't recommend it more highly. This is one movie that will at least make you think - perhaps even differently - about yourself, your life, and your loved ones.

Seconds
Perhaps the most unknown and under appreciated American film of all time. John Frankenheimer at his edgiest and most paranoid. Rock Hudson is brilliantly cast as the young reincarnation of a middle-aged man who under goes surgery to regain his youth. A film truly ahead of its time and an inspiration to filmmakers everywhere. Story is told brilliantly with some of the most inventive camera work ever!

Frankenheimer's Trippy Twilight-Zonish Masterpiece
Seconds is probably the trippiest film you're likely to see. It stars Rock Hudson as Tony, a "reborn" of John Randolph (one of the actors blacklisted under McCarthy). It's ostensibly about this guy in a midlife crisis who is forced into this super secret organization that creates second lives for people by giving them new identities. This film hit so close to home for Rock he nearly broke down during filming.

At first glance the second chance at life looks great. A new identity, a house on the beach, and a beautiful new girlfriend in the seemingly hippyish Nora (Salome Jens). Then things go downhill and into a nightmarish realm. Really the whole film is a surreal nightmare, from the meat packing district to Randolph being drugged to out-of-proportion camera lenses and strange angles. And especially inside the reborn offices; what happens there is utterly otherworldly. Filmed in black and white this captures an experiment in surrealism that a major director wouldn't dare attempt today. And like all great '60s films this has a '60s feel and atmosphere to it. Especially when Nora and Tony go to a hippy festival, though Tony feels out of place there; after all he was formerly a square banker.

When Beach Boy Brian Wilson saw this film when it was released in 1966 he literally went insane. He believed Phil Spector was beaming him secret messages through the film to sabotage his career (the main character's last name was Wilson which may have added to his paranoia). But for a relatively healthy viewer it won't drive you insane...but it'll definitely have an effect on you.

If one had to pin down what this film is a metaphor for, it would have to be the old alienation of modern society theme, but here with an intense sci-fi-like twist. A must for all Frankenheimer fans, Rock Hudson fans, and/or '60s afficionados.

A Disturbing Mid-Life Crisis
Without question, "Seconds" is a disturbing and unique film. It's odd, unclassifiable, and not easily forgettable. It is also one of the few films that will upset you with each subsequent viewing. The passing of John Hamilton gives me pause to reflect on this underrated films - one of the best dramas of the mid-1960s, and one of the best psychological thrillers ever put to film.

John Randolph is Arthur Hamilton, a man haunted by the thought of life passing him by. Arthur is brought to a strange agency, and is given a unique opportunity: the agency will erase Arthur's old persona via a convenient faked death, perform plastic surgery, and give him a new life as a "second". Rock Hudson plays Tony Wilson, his post-surgery "second" persona. In his new "second" identity, Tony learns that a new body and new identity don't address his need for individuality. Tony never lets go of his supreme self-centeredness, which eventually leads to his downfall.

The film settles in the pit of your stomach with several strange and unsettling scenes. At the agency, he meets a friend who has something on his mind...he seems very intent that Arthur adopts a "second" identity. When Tony awakes from surgery he is bandaged, and is told not to talk because his teeth have been removed. As he recovers, he is given a strange personality and occupational aptitude battery (I have never trusted these after seeing this movie!) Eventually After having too much to drink, he realizes all of his friends are fellow "seconds". Tony visits his wife, who think's he's dead. The gravity of Arthur/Tony's choice is clear; he can never go back. Eventually Tony returns to the agency, and is asked to suggest fellow clients...he never realizes the danger of not ponying up a new candidate. And the final scene...I won't spoil it, but you'll feel cold afterwards.

Hudson is brilliantly and presciently cast, as it was made before his sexuality was common knowledge. It's little wonder that "Seconds" is recognized as Hudson's best work. John Randolph as the gray, depressed Arthur Hamilton is overshadowed by Hudson, but his understated performance is critical to the Hudson's portrayal as Hamilton's "second" chance. Never a great actor, Murray Hamilton is at his best as a frightened agency client - we know why he's nervous, but wonder why Arthur can't see it. Will Geer is eerie and unforgettable as the agency's patriarch, who waxes philosophical with his failed clients. Frankenheimer's work is brilliant. "Seconds" takes a toll on it's viewers, and I find that I have to steel myself to watch this great film again. Strongly recommended. ... Read more

Description

Burt Lancaster, Gene Hackman and Scott Wilson play a threesome of stunt skydivers who are like moths drawn to the flame of risk... although their passion for it is beginning to fade. ... Read more

Reviews (4)

One of Frankenheimer's best!
"The Gypsy Moths" (1969) is fabulous! I recommend it highly if you like a movie that's both exciting and "deep." The movie shows the tension created when three skydivers mix with the locals of a small Kansas town. The skydiving stunts are quite impressive --- and real. The subtle building of tension is masterful. Yes, Lancaster, Kerr, and Hackman are very good, but so are Scott Wilson, William Windom, Bonnie Bedelia, and Sherry North. The character development and the themes of mature adult relationships, the choices we make in our lives, and a behind the scenes look at the lives of ''performers'' make the movie more than an action picture. In the DVD extras, Frankenheimer calls "The Gypsy Moths" one of his personal favorites, and says out of the 194 movies and live television shows he has done, "The Gypsy Moths" ranks in the top 2 or 3. That's high praise given Frankenheimer's resume (which includes The Manchurian Candidate, The Train, Birdman of Alcatraz, Seven Days in May, and Seconds). Frankenheimer gives a full-length feature interview on the making of the "The Gypsy Moths," including comments on his frustration when the movie was strangely dropped by MGM in its theatrical realease in a management change (because the movie "didn't fit with the kind of new 'exploitation' pictures the new management wanted to make"). Also in the DVD extras, is a thrilling promotional movie trailer, and a behind the scenes making of the movie called "The Skydivers," featuring the work by the stunt skydiving team that made over 1300 jumps to catch the aerial sequences, and interviews with Frankenheimer, Lancaster, and Kerr. All in all, "The Gypsy Moths" is a major film, and a brave one for Frankenheimer, who allows the time for the characters to develop and build the subtle tension, and then explodes it with the skydiving performance and it's aftermath. "The Gypsy Moths" has a kind of cult following, which should only grow now that the movie has been reissued on DVD and VHS, and the movie will surely become a classic.

Edgy free-fall
One of Frankenheimer's most satisfying films. I really like the spare dialogue. The acting is first-rate, and the filming has a free-wheeling feel lacking in Frankenheimer's later efforts. Bonnie Bedelia, Sheree North and Debra Kerr bracket the female spectrum in one of the few Frankenheimer films to depict women as interesting as the men.
Gene Hackman's performance is memorable. Simply terrific.

The Gypsy Moths
Three barnstorming skydivers come to a small midwestern town to put on a show. "The Gypsy Moths" has great skydiving stunts that were actually performed by a real skydiving stunt team; and the movie is so much more than just an action film. The characters are very interesting and complex, and the backstage look at the lives of "performers" makes this movie a classic! Lancaster is powerful; Kerr, Sheree North and Bonnie Bedelia provide interest and sexual tension; Hackman should have gotten an Oscar for Best Supporting Actor; and director John Frankenheimer has done a superb job of weaving the action and interpersonal drama tightly. "When the ground comes up at you like a sledgehammer, and the sweat freezes on your brow; when jumping isn't only a way to live, but a way to die, too... you're a Gypsy Moth." The ending makes this movie an existential masterpiece!

Gypsy Moths is a movie every aviation enthusiast should own!
Gypsy Moths is one of those movies that stands at the top of the pile of classic aviation flicks. From beginning to end it is packed with some of the best stunt flying and old skydiving scenes you will ever see that were done for real, instead of in a wind-tunnel in front of a blue screen, or on the computer. Another great movie you should check out if you like this one is Fandango, starring Kevin Costner, which also has some amazing flying stunts in it. ... Read more

Reviews (464)

"Here's to Swimmin' with Bowlegged Women"
Jaws has something for everyone. It has a bit of the classic disaster movies of the 70s like "The Poseidon Adventure" and "The Towering Inferno." It has a bit of the classic Hitchcock suspense films like "Psycho" and "The Birds." It has a bit of the teen B-movie slasher flicks. It's a buddy picture. It's a road trip movie. Now a lot of directors could take these elements and make a lousy movie, but Spielberg turned it into Hollywood gold.

The casting and character development in the movie are excellent. Robert Shaw's Quint, especially, is unbelievably good as the salty shark-hunter. His monologue about the USS Indianapolis demonstrates in a couple minutes the depth of his character who, prior to that scene, was almost a caricature (the quote in the title of this review is an example of his charming wit). Dreyfuss and Scheider also create characters with nuanced depth. Spielberg even takes Murray Hamilton's character, Mayor Vaughn, who at first seems shallow and smarmy ("Amity, as you know, means friendship") and in the hospital scene transforms him into a real person.

Included on the DVD is an excellent documentary looking at the making of the movie, which does a great job at spreading credit for the film's success beyond just Steven Spielberg, as well as throwing in a lot of filmmaking trivia. The other extras on the DVD are a mixed bag. The deleted scenes are worth watching, though appropriately deleted from the final version. The outtakes were a disappointment (you'd think Roy Scheider would have test-fired the gun after it jammed the second time). The trivia game is nice once through. The Windows screensaver amounts to 5 still images (most of them mediocre) from the movie that endlessly repeat. A commentary or two would have been great ... maybe for the 30th anniversary.

Jaws was one of those movies that was an instant hit and continues to impress. It's still in the Top 30 box office draws (even ahead of Monsters Inc., Batman, and Men in Black) - and with good reason: it's simply an excellent movie. If you've never seen it before, you're missing a thrill (literally). If you have seen it, but don't have it on DVD already, get it now; it doesn't disappoint.

Take a Bite Out of this DVD!
Anyone old enough to remember the Summer of '75 will recall the sheer terror caused by the 20-foot mechanical shark in Steven Spielberg's classic horror film "Jaws". Not only did this flesh-ripping Great White take a huge chunk out of the worldwide box office, it also put a dent in the profits of beach towns on both coasts. No one wanted to go anywhere near the ocean! Heck, you couldn't even jump into a kiddie pool without some prankster breaking into a couple bars of the classic "Jaws" theme. (Da-Dum-Da-Dum-Da-Dum...) The media, in fact the whole world, was caught up in a stupifying feeding frenzy of Shark-Mania. You see, "Jaws" wasn't merely a movie; it was an EVENT! It was the original Summer Blockbuster. But, unlike the majority of mega-movies it spawned, "Jaws" was worth every penny of the $3.50 we movie-goers forked over in 1975. In a stroke of genius, Spielberg kept us squirming by not allowing us to see the toothy, blood-lusting shark for the first hour of the film. We only witnessed the bone-crunching damage that this monster had inflicted. When the Great White finally surfaced, a collective gasp could be heard throughout the theatre. Nevertheless, we had faith in Richard Dreyfuss, Robert Shaw and Roy Scheider -- the heroic hunters who set off to sea in a small fishing vessel named, ironically, "Orca". But, alas, we knew that indeed they'd need "a bigger boat". The inevitable showdown between man and maneater was more horrifying than anything we'd ever seen on the big screen. But, ultimately, in the end, we let out a whopping round of applause and got right back in line to see it again. (Well, some of us unemployed youth actually hid in the bathroom between shows!) Everything about "Jaws" worked. The suspense, the music, the chemistry of the stellar cast and, of course, the big rubber shark kept us coming back for more. Finally, after years of suffering through heavily edited pan and scan versions on Cable TV, we are treated to a beautiful widescreen version of "Jaws". This DVD is truly worth it. The print itself is crisp and clean. The entire soundtrack, most notably John Williams' chilling score, is greatly enhanced by the DTS. For my money, the "Making of Jaws" documentary included within is worth the price of admission alone. Overall, a job well done and quite befitting of this all-time classic. Highly recommended.

THE ALL-TIME SHOCKER
I`ve seen this over and over... It simply never outstays its welcome. The thrills are still at potent as in 1975. Yup, they did make sequels and Deep Blue Sea; but it can never be like this....Thanks to the genius of Spielberg, Verna Fields and a GOOD screenplay by Garl Gootlieb and author Peter Bencheley this is both drama, horror and suspense on a high level. JAWS is indeed high art. Scheider, Gary, Duvall, Hamilton and Dreyfuss ALL excell in their roles.

May be too intense for Younger Children
Before the PG 13 rating existed, producers of Jaws placated the MPAA ratings board by adding "May be too intense for younger children" after the PG. May be should be changed to MOST DEFINITELY. Jaws broke box office records BECAUSE people of ALL AGES found it amazing. Jaws may seem quite tame today, but in 1975 it kept all age groups out of the surf. It succeeded because all aspects of the filmmaking process were done excellently. First, the script. Speilberg wisely jettisoned the affair between Hooper and Ellen. He softened the characters making them more likable. He obviously changed the ending to make it more spectacular. Next, the acting. Perfect casting choices all around, from the 3 leads to the smallest part (secretary Polly is a riot with that voice). Location shooting was right on the money. Beautiful beach is made ominous at night. Effects: Speilberg may complain but the mechanical shark is very convincing when it is on screen (mostly near the end). Lighting, editing, and of course the most famous musical score of all time are the icing on the cake. Top it off with an eye grabbing movie poster, and how could you NOT succeed.
This is one of my favorite movies, I usually watch it around the fourth of July. The DVD is excellent, however the 75 minute documentary was cut by about 45 minutes (which was included on the laser disc). That aside, enjoy this marvelous film that will make you feel you are on that boat, that beach, or most chillingly, in the water.

Over Three Tons of Horror!!!
I first saw this movie shortly after its release in 1975. I didn't know what was going to happen when it kept me at the edge of my seat hair raising and harrowing that it was. I knew that Christie was going to become the first victim when she goes out for a swim, running behind her was a drunk, young man who was interested in her. She beckons him to come out with her but he passes out at the water's edge. As for the girl? Terror strikes! Roy Scheider plays police chief Martin Brody, who was generally afraid of the water because of a near drowning accident in his younger life, goes out in search of the menacing great white shark with Quint (Robert Shaw) and Matt Hooper (Richard Dreyfuss), but not before the shark claims a few more victims. My youngest brother has a brother-in-law who happens to be a police officer, freaks out when he sees the part of the movie when that corpse looms right at Hooper, scaring him as he examined the boat that had been attacked by the shark. A great horror flick if you dare to go in the water after you see it. ... Read more