Reviews (124)

Easily John Woo/Chow Yun Fat's best!
The Killer is a beautiful action/drama masterpiece. It is the best work I have yet to see done by both director John Woo and HK superstar Chow Yun Fat(both of whose movies I am familiar with.) The rest of the cast (including Danny Lee and Sally Yeh) are superb. The sheer grace and flair of the seamlessly choreographed gunfights to the poignancy of the gripping story of a professional hitman trying to cut clean, while gradually falling in love with a victim he accidently blinds in a shootout are all executed perfectly. This movie is not your standard action fare, as it goes deep into the mind of the killers, and depicts the characters trying to live a life that is honorable in a world that is so corrupt and sinister. The bottom line of the movie is quoted by CYF toward the beginning of the film: "Not everybody in this world is untrustworthy." Underlying the blazing guns and implied emotional battles, lies a tale of loyalty, trust and friendship. John Woo epitimizes this movie by proving that the action is not present simply for the sake of action, but instead for clean moviemaking and plot. As for the quality of the DVD itself, the picture is very clear for an older movie (1989) and the features and menu setup is very stylishly done... just don't watch the trailers, they do severe injustice to the featured films (The Killer and Hard Boiled) and contain spoilers. For hardcore HK movie buffs, the Cantonese language track with English subtitles is the definite route to take. The English track is butchered and incomplete, not to mention hard to understand and silly-sounding. I highly recomend watching this movie in it's original language (the way it was intended to be heard) as it is much more powerful this way. If you plan on purchasing this movie, though, I would instead recommend you buy the John Woo 2 DVD pack, which includes both this edition of The Killer and also Hard Boiled, another John Woo/CYF compilation.

The Story of a Hitman with a Heart
Because I'm a 13 year old boy(and a fan of Chow Yun-Fat and John Woo), I was just looking for the best action movie of all time. I ended up with something better, a dramatic, well though-out action film. It may not be "The Matrix", but "The Killer" was awesome. It was a movie filled with mayhem and bullets. And there was so much action. Jeffrey is a hitman with a heart who, during his last hit, accidentally blinds a woman with a gun. Because he's not a cold-hearted hitman, he decides to do one more hit to pay for an operation that will keep her from going blind. Lee is a cop who wants to stop Jeffrey from making his last hit. Jeffrey is betrayed by the mob that hired him and is put in war against all odds. Jeffrey and Lee put aside their differences to blur the line between them. Together they blast through the war leading to a climatic battle that is John Woo's best battle ever. Even though I'm only 13, I know good acting when I see it. This movie has been throned "THE Movie of Mayhem".Don't bother renting it, just buy the DVD.

"One Vicious Hitman. One Fierce Cop. Ten Thousand Bullets."

John Woo & Chow Yun Fat...nuff said!
The Killer is the perfect example of cinema in its most powerful form. Expression...every bullet, every conversation & every scene just flows so beautifully & expressively it just blows me away. Unexplainable. Very deep & mythological story, unlike anything ive ever seen! U just have to see it. & see it. It will make u think to yourself, "what the hell is the average Hollywood budget gettin wasted on?? Promotion!!?? " John Woo on the other hand does not need $100,000,000 to truley express himself, hell, he doesn't even need the highest quality celluloid to make his films stunningly beatiful.. The Killer is no exception, John Woo is such a masterful director, no wonder why Hollywood have been ripping him off long before they invited him to join 'em!
& unlike most action films of mindless "invincibilty" plots & stupid reasons for massive shootouts, this has a cause for every piece of stunningly choerographed action...& consequences to join the equation.
If youve only seen Chow Yun Fat in his American films (Replacement Killers & Bulletproof Monk e.t.c), you really havent his true styles & capabilities. Get THE KILLER, & youll know why Hollywood have copied J.Woo's style of genius direction more times than a photo-copier has copied paper!
This is John Woo at his purest form, & Chow in his true style.
The John Woo & Chow Yun Fat combo is like the Sergio Leone & Clint Eastwood combo= Classics!
Get this if u like a deep, moving story, awesome acting, & action that sychronizes perfectly. (Also check out other J. Woo classics, Hard Boiled, A Better Tommorow 1 & 2, & Bullet in the Head!)
.....Nobody does action like Honk Kong...Nobody does Honk Kong like John Woo...

Best...action movie...ever!
Filled with grit, emotion, and psychological depth, not to mention lots and lots of blood, "The Killer" is the kind of passion play that is seen all too rarely in any style of film, let alone the action genre. In fact, John Woo's Hong Kong shoot-'em-up masterpiece resembles nothing so much as Shakespeare with thousands of bullets flying around. In this case the role of the tragic hero is assumed by Jeffrey, played in career-defining fashion by Chow Yun-Fat. Jeffrey is an amiable enough sort, who also just happens to be a fearless, unstoppable assassin with a steely glare and a deadly accurate shot. But when he accidentally blinds a lovely torch singer named Jenny while mowing down about a dozen criminals in a crowded bar, Jeffrey finds some new meaning in his life by assuming responsibility for the woman, even going so far as to try to get her a vision-restoring cornea transplant. However, everything is far from hunky-dory for Jeffrey and his ward: after committing one last job to get the money for Jenny's operation, Jeffrey finds himself pursued by a small army of thugs as well as Chang and Li, two relentless detectives. Oh, and his best friend and associate Sidney has (temporarily) betrayed him. With all that's going on, the stage is set for a struggle on an operatic scale, with Chow giving his character just the right mix of warmth and gravity.

As one would expect from a film directed by Woo, with Chow in the starring role, "The Killer" contains more than its fair share of shootouts and chase scenes, all filmed with Woo's signature frenetic visual style. However, it's what happens when the movie slows down that sets it apart from the pack. "The Killer" is as much a drama as it is an action yarn, and it's a mighty good drama at that. There are a bunch of scenes here that got my adrenaline flowing, but even more impressive, some moments practically moved me to tears (emphasis on the word "practically"). Behind the constant action is an often-moving tale of devotion, honor, redemption, and friendship in the unlikely setting of the criminal underworld. The lines between good and bad, right and wrong, cop and criminal, are all blurred in a haze of moral ambiguity and divided loyalties. While Jeffrey and Sidney attempt to restore trust after Sidney's betrayal, an unlikely bond forms between Jeffrey and Li as the detective and the assassin realize they're not that different after all.

As the story unfolds, building toward the inevitable confrontation, the tension and the emotional stakes only rise along with the body count. Woo manages to elevate the crime drama to poetry, whether during a taut action sequence or a subdued conversation scene. The movie's deservedly legendary finale, involving a crazed gun battle inside a church, is the only appropriate conclusion. The viewer certainly needs some catharsis after such a harrowing journey, and Woo more than delivers the goods. "The Killer" is one of the few movies of its ilk that can legitimately be called art.

=====Respect Hong Kong Cinema =======
===========Hong Kong action and John Woo should be greatly respected by Hollywood b/c most of his movies like THe Killer, Hard Boiled and The Better Tomorrow Series are being ripped off by Hollywood directors such as the movie "DESPERADO," "RESEVIOR DOGS" and etc. The Hong kong cinema should be credited by hollywood.==================== ... Read more

Reviews (1191)

A True Lesson Of Cinema
Last Friday "AI: Artificial Intelligence" was premiered in my country, Spain. The movie, as it happened in the States, has lead to some controversy here, people went out of the theaters yawning and complaining about the end of the movie. As for critics, they worship the movie as the masterpiece of its creator, Spielberg. As far as I am concerned, this is the only movie I've gone to see twice to the theater. That sums up everything, but anyway I will put forward some reasons why I remained bewildered and deeply touched during the course of the film.

This is a work you cannot watch and forget, this is a movie to think over a lot of existencial, philosophical and sentimental issues...I will not write about my own thoughts. However, there is an infinite number of details not to lose sight of. For instance, that scene where Monica (Frances O'Connor) prepares some coffee and David (Haley Joel Osment, not a great child actor, but an overwhelming mature actor) observes her amazed showing this way his deep interest in knowing and discovering everything that sorrounds him.

But we cannot forget this is a highly crude movie, but disguised. Apparently, it is an enjoyable fairy tale inspired in Carlo Collodi's Pinochio. But this story is harsh, devastating at times (see the scene in which Monica abandons David in the forest, the crudest moment in a film in a very long time) but above all deeply moving. It is at this point where we notice the influence of Kubrick, where the movie gets obscure, almost nightmarish. I felt inside David's mechanical soul from the moment he starts his search for the blue fairy, an unachievable aim, an impossible dream that showed me what sadness really is. The odyssey of David is fascinating, astonishing, Spielberg demonstrates here that he is a real dream maker, that every crazy idea that goes around his head is possible inside his movies.

Jude Law makes an excellent and coreographic performance, he is indeed one of the best new actors landed in Holywood. Needless to say that John Williams' score to the movie is his best compendium of musical dreams to date. This movie would not be the masterpiece it is without the hand of this master. All these ingredients as well as the twisted but emotional end, probably the most controversial part of the film due to the wild approach conceived by both Spielberg and Kubrick's minds, makes this movie one of the most unforgettable cinematographical works of all times. Wether you liked the movie or not, I am sure that it will not make you think: "it makes no difference to me". And this is, in fact, the greatest of lessons in the world of cinema.

Excellent movie...a half and hour too long...
The premise behind this film is thought-provoking, sincere and brutally honest, as are the actors. Haley Joel Osmont and Jude Law stand out as two superb actors able to carry out their roles with perfection. The mix of Speilberg's directing and Kubrik's genius is evident in the format and dark style of AI. The special effects are phenomenal -particularly the "mechas" and New York City after the flood and the freeze. I found myself drawn to the complexities of human emotion, as well as the evils that may plague humankind.
AI is able to provide us, in 2002, a rare and realistic glimpse into the future. As skeptical as some of us may feel about this statement, I believe that given the technology and power, society will eventually lead itself into this path of robotic engineering, cryogenics, and the "Flesh Fairs", which is a step away from the current mindless program "Junkyard Wars".
Apart from being about half and hour too long and a little too sappy for my taste, AI is an intelligent film that was released about 100 years too soon. This film is not suitalble for the Hollywood obsessed masses whose idea of a good movie is "The Fast and the Furious". It is only for those who are able to understand and appreciate science fiction at its best.

The second worst film ever made.
This is the second worst film ever made, (when you factor in budget, of course). It's truly a film for the stupid. This review contains some spoilers.

1. (semi-spoiler) There is a scene where the android boy decides to try and eat, which he's incapable of, and damages himself. I'm a computer programmer. If you want your machine to not eat, the solution is very simple: program it not to.

2. (semi-spoiler) There is a scene where the android boy holds a human boy underwater in a simming pool. I'm a computer programmer. If you want your machine to not hurt humans, the solution is very simple: program it not to.

3. (spoiler) There is a scene where the gigilo android discovers that a woman has been murdered and goes on the run because he's afraid he will be accused of the crime. Three problems here: 1. The android surely must be programmed not to hurt humans, and if so, that will be determinable by examining his programming. 2. Even if he wasn't programmed not to, there surely must be a way to "replay" his activity- to view his memory. Hell, with today's technology you could store a month's worth of video on a microdrive that's the size of your finger. Surely anyone who designs an android will make it record at least the last 24 hours of what it's seen. 3. An android maker would surely not allow it the ability to go "on the run". Rather, it would "return home if there's trouble".

4. (spoiler) Finally, the movie ends with the pinnacle of absurdity, a ludicrous creme de la creme. The android boy is revived after a few thousand years and androids of the future are able to glean information from within the molecules of him. That by itself is not so bad, sure, I can believe such a technology could exist. Maybe.

But the information only lasts 24 hours. Seriously, I'm not kidding, that's what happens. The information "lasts 24 hours and is gone forever".

I laughed so hard that an usher came over to me. One other guy was laughing too a few rows over.

5. Finally, the film is entirely about the boy's relationship with his adopted mom. That's fine, but what about the importance of loving the father? The dad is just an incidental character. I can understand wanting to "focus" on the mother, but the fact that the film doesn't even see it as a PROBLEM to address somewhere, that seeking love from the father is totally ignored, demonstrates poor writing. Unethical.

Mechas A+, Aliens A+, Humans D-
To betray innocence is a terrible thing, but to create innocence only to destroy it is far worse.

The best thing that you can say about this movie is that it is definitely not formula written- it makes you think. Nor is it a "feel good" movie. And it is definitely not a children's movie.

What it is, is a modern fable or fairy tale- and the fairy tales of old were not written for children- they told deep primal or tribal truths. This tale tells a deep truth about our modern tribe- namely that modern man is no bloody good. The robots are portrayed as decent, innocent beings. The aliens are portrayed as decent, compassionate, and wise. However, not one human in the film comes across as a sympathetic character. Even "mommy" ends up betraying and abandoning the main character "David." Humans use and exploit and brutalize. In fact, when humans finally become extinct by the end of the film you accept it as a very good thing....

You can also see this film as parable about how mankind has traditionally treated animals, or children, or workers, or the poor. Whenever it has been possible to betray trust and behave abominably, mankind has always sank to the task. Why should we believe that we would treat intelligent machines any better than we have traditionally treated each other?

disturbing, thought provoking and wonderful
Spielberg's ability to convey intense emotion without descending into sentimentality never ceases to amaze me.

After seeing this movie at the cinema, it was several days before I could stop thinking about it. It is a science fiction story of epic proportions, combined with a fairy tale, and an incisive commentary on our current society; in short, there is plenty to digest in this film!

Also think about the many religious, poetic, and literary references here; the flesh fair is more than a vague reminder of the Holocaust; when Gigolo Joe firmly states "I am" then says "I was" as he is dragged up to be made into scrap metal, a definite correlation of human identity to the Old Testament God's statement "I AM who I AM" emerges. A Yeats poem called "The Stolen Child" is quoted by Dr. Know, which is peculiarly appropriate to David's quest as it unfolds. And of course, over arching everything, is the beautiful use of the Pinocchio fairy tale to explore that most difficult of all questions; what exactly is it that makes us human? These are just a few examples; I am sure I would pick up more on each viewing.

The acting, without exception, is superlative; after all, who wouldn't want a gigolo robot who looks like Jude Law ;-) and while the movie doesn't quite blend into a seamless whole (perhaps Kubrick and Spielberg never will) there are scenes that are absolutely outstanding. One is David's abandonment in the forest. Another is the flesh fair sequence. Throughout, much of the emotional intensity required must be maintained by Haley Joel Osment, and he carries the movie with seemingly effortless ease.

A final touch of genius on Spielberg's part must be mentioned; the inclusion of Superteddy, who ensures that the sublime, heightened emotions explored are punctuated by instances of comic relief, and provides a reminder that our most intense yearnings lie side by side with the amusing, ludicrous, and ridiculous elements of life. ... Read more

Amazon.com

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted--hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) --Jim Emerson ... Read more

Reviews (557)

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

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

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

Too good a DVD for you to pass up!

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

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

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

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

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

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

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

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

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

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

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

Amazon.com

The quagmire that was the Vietnam War comes to vivid life in this HBO film--not in the jungles of Southeast Asia, but in the offices of the White House, where a disastrous U.S. policy was forged. From Lyndon Johnson's landslide 1964 victory to his weary withdrawal from the 1968 race, Path to War charts the disappearance of LBJ's "Great Society" domestic dreams into the bramble patch of war. The bungled decisions are forcefully directed by John Frankenheimer, whose expertise at political intrigue shines in his final film. Donald Sutherland and Alec Baldwin do some of their best work in years (as Clark Clifford and Robert McNamara), although the great actor Michael Gambon, while impressive, doesn't quite capture the honey lilt of LBJ's beguiling style. Among the many superb scenes: Johnson intimidating an outmatched George Wallace (an unbilled Gary Sinise, re-creating a role from another Frankenheimer HBO film) on civil rights. --Robert Horton ... Read more

Reviews (5)

Re: Very very good
Its always fascinating when a movie comes out that shows the inner workings of Government and/or the White House....to get a sense of how our elected officials tick. To be honest I was not all that familiar with the Vietnam War so this movie provided me with some fascinating insight. All the performances are terrific,
very highly recommended.

Great Movie
We could not stop watching, a great movie.

The Forgotten Society
I highly recommend this movie for two very good reasons.

First, the acting and the dialogue involved with this project are great. I can still hear Lady Bird Johnson telling a frightened and fatigued LBJ "When eloquence of words are no longer effective, then perhaps it is time for eloquence of action..." And with these words, LBJ decides to retire the presidency and public life.

Second, I recommend "Path to War" because of the subject of this impressive movie is Lyndon Baines Johnson. Arguably one of the most controversial figures of American history, it is easy to forget all the good he has done for our country in the hell of Vietnam. This movie finally reminds the viewer that although President Kennedy had such wonderful dreams and ideas for our society, it was President Johnson who made those dreams a reality by maneuvering the congress to enact the "Great Society" laws. The audience can feel his joy and elation as he sees his vision of an America that has beaten poverty, racial discrimination, and the host of other social ills present in America during the 1960s. Then, we see his dreams transformed into nightmares as the American public become increasingly angry and hostile with his policy towards Vietnam. The audience is shown the private torture inflicted by decisions president Johnson makes in regards to Vietnam and the anger he knew they would generate...In conclusion, "Path to War" reminds me of a Greek tragety; riveting and enjoyable to watch and experience in the comfort of ones own home.

The last great film of John Frankenheimer
Being a huge John Frankenheimer fan, this movie was on my list to see for some time since I don't have HBO. Overall, I wasn't expecting too much from this movie, somehow I have that perception with all made-for-tv movies. The movie certainly has that feel in the first few minutes, with acting that seems a bit forced and wooden. But as the story progressed, I slowly got pulled into the situation and characters of all involved. By the time the movie was over, I was impressed with the portrait provided of LBJ as a troubled man who wanted to do so much for the country, but was held back with a stalemate war. It's expertly directed by Frankenheimer, with his classic visual style that exudes tension with facial close-ups. Gambon does a pretty good job too, although most of his acting in this movie falls into the 'concerned man' and the 'screaming and yelling man' episodes; it still shows the bi-polar sources pulling at him.

It resonates a bit with the current tensions and war in Iraq (some of this is mentioned in the bonus features), but it still carves out its own identity; when was the last time a President talked about a Great Society? It makes me wonder how significant of a President Johnson could have been (many books defer to this position as well, almost worthy of a place on Mt. Rushmore). But as a youngster, most of the Presidents I've been alive to experience are focused more on cautious outlooks than on civil progression and visionary goals. Of course its all easier said than done, but it seems to me the era visionaries has ceased with Johnson's statement not run for a second term in office.

I know very little of the historic values of past Presidents, but it's a genre I enjoy experiencing in the movies and television. If you watch the West Wing on a regular basis, or just enjoy movies with historical facts and situations (13 days, JFK, All the Presidents Men), then you'll enjoy this movie. I expected little, and I got a home run in return. I think it's a great movie that concludes Frankenheimer's career. I like his work a lot, and he will be missed.

It should be noted that the movie is not 4x3 full frame format. Instead it's in 16x9, anamorphic format; and the transfer I would rate as 'good' but not exceptional.

Path to War
Path to War is a great movie for several reasons. For one, it is a movie about LBJ, which is rare. In most movies he is a background figure, perhaps because it is hard for an actor to capture his personality. Secondly, it is a Vietnam movie that shows a different side of the war: the political side. Movies like Platoon, Born on the Fourth of July, and The Deer Hunter have done a superb job of showing the side of the common soldier in Vietnam, but what went on in the corridors of power in Washington is rarely shown. And, finally, the filmmakers have assembled a great team of actors and historians to bring this film to life. Michael Gambon, who portrays LBJ, does a commendable job, as does Alec Baldwin as Robert McNamara, but the best is Donald Sutherland as Washington insider Clark Clifford. As an added bonus, the DVD version of the film is loaded with extras including cast interviews and commentary by historian Michael Beschloss. Despite its length, it goes by fairly fast, and it is easy to get caught up in the tension and paranoia that plagued LBJ during his presidency. ... Read more

Reviews (180)

We Are Not Alone
Nearly a quarter century since it was unleashed, CLOSE ENCOUNTERS OF THE THIRD KIND ranks as one of the supreme cinematic achievements of the modern era. Steven Spielberg wrote and directed this tremendous science fiction film with his own distinctive middle-class view on things.

Richard Dreyfuss is at his usual terrific best in the role of Ron Neary, another of Spielberg's "Everyman" characters. He is an Indiana power lineman who is called out on a night where the entire city of Muncie goes dark. Then, at a railroad crossing, he is suddenly shocked by the appearance of a UFO, flooding him with brilliant white light. This encounter soon turns both him and his life upside down; his wife (Teri Garr) and kids can't understand his obsession with turning the shape of mashed potatoes or mounds of dirt from his backyard into a mysterious mountain he's been seeing in his mind. Meanwhile, a lonely mother (Melinda Dillon) has her own close encounters with the UFOs, resulting in the still-unseen aliens abducting her son (Cary Guffey). She too has visions of a mysterious mountain, visions which find their way into paintings and colorings.

When the news comes on TV with word that a train supposedly loaded with deadly nerve gases has overturned in northeastern Wyoming, however, both Dreyfuss and Dillon know the locale--Devils Tower. In spite of government officials closing the park off to outsiders (the nerve gas leak is an elaborate cover story), Dreyfuss and Dillon witness, along with a noted UFO expert (Francois Truffaut, director of the 1969 classic THE WILD CHILD) and hundreds of others, the first actual close encounter of the third kind--direct physical contact between Earthlings and extra-terrestrials.

Spielberg's film was obviously a radical shift from most previous Hollywood depictions about outer space visitations to Earth. He evokes the famous line "Watch The Skies" from Howard Hawks' 1951 classic THE THING, but does so without the paranoia and hysteria of the space invasion films of the 1950s. There are no lasers or bug-eyed monsters.

Because CLOSE ENCOUNTERS was made after America's twin debacles with Vietnam and Watergate, it takes a low-key but rather apparent questionable view of the military and the government--as Stephen King put in his book "Danse Macabre", a "don't-let-the-military handle this" approach. In its scope and approach, this movie is closer, in a middle-class way, to Kubrick's 2001: A SPACE ODYSSEY, which Spielberg has always numbered among his favorites, than to any sci-fi film of the past. Dreyfuss and Dillon are excellent in their roles, as is Truffaut; and as for John Williams' score...what more needs to be said; it's brilliant. CLOSE ENCOUNTERS (also known as CE3K) won an Oscar for Vilmos Zsigmond's cinematography, though four other men (William Fraker, Douglas Slocombe, John Alonzo, Laszlo Kovas) are also credited.

Well conceived, suspenseful, occasionally terrifying, and finally uplifting, CLOSE ENCOUNTERS is yet one more staggering masterpiece for a director with a whole lot of masterpieces still to come.

This Movie Changed a Genre
Steven Spielberg is at his best here. The film plays almost like a documentary, and leaves you half-expecting to see alien ships whipping past you on the highway.

Richard Dreyfuss, in a stellar performance, is an ordinary man who is suddenly possessed by something, but is not sure what. We, and he, gradually discover that he is not alone in this obsession; a small group of people across the country have been summoned to Devil's Tower in Wyoming. There is also a sudden increase in UFO sightings across the country. The summonees gradually converge on Devil's Tower, while the scientific community tries to keep everyone away, out of legitimate and sincere safety concerns. The scientists have figured out that a spaceship is on its way and plans to land. The entire movie runs like Ravel's "Bolero": a slow crescendo culminating in a roaring climax ...

The special effects are not only extremely good but are also beautiful. The alien scout ships look like luminescently surreal Christmas tree ornaments and the mother-ship looks like the surreal tree they came from. Everything glows in outlandish colors. The musical score fits the movie perfectly (well, it was done by John Williams) and can stand alone as an orchestral masterpiece. The acting is also very good, and especially so for Richard Dreyfuss.

This film redefined the whole genre of aliens-visit-Earth. Before "Close Encounters", such movies had the aliens attacking us, the aliens appearing friendly but actually here for nefarious reasons, or the aliens being here for genuinely friendly reasons but we don't get it and end up attacking them. "Close Encounters" showed benign, intelligent aliens being met by benign, intelligent humans for information exchange and mutual gain. Of all the garbage and violence we've broadcast out into space (for everything seen on broadcast television is also transmitted Out There), I hope that any would-be visitors, if they exist, see this film before arriving. Even without understanding a word, they'll get the message: if you come in peace, you'll be received in kind. I'm not some fanatic who's convinced there is someone on the way, but, just in case there is, I hope we can respond as maturely and intelligently as this film portrays.

The Neary Family is as impressive as the light show
For me the portrayal of the Neary family is equally as stunning as the portrayal of the spacecraft throughout the movie. The acting in any scene involving the Nearys is astounding. Even though that family doesn't end up the way we might hope, they behave exactly like a real family might when faced with their situation. Pay special attention to the children. Their reactions are dead on.

The special effects are breathtaking and continue to prove, as have so many other great films, that the old way of doing effects is far more spectacular and convincing than today's cartoonish CGI effects.

Incoherent plot; bad science
This film has such distractingly glaring holes that enjoying it is impossible.
Aside from questions of what do aliens need with airplane fighter squadrons and steamships, it presumes that aliens use the same numbering systems and geographic and temporal degradations that we do (why would an alien know how long a second is?)

Add a whole lot of Spielbergian paranoia about the government, and there you have it.

"Toys!"
4.5 stars. This is easily one of my favorite early films from living, legendary filmmaker Steven Spielberg. This film and "Jaws" are two incredible, remarkable achievements from the 1970s. In 1977 all I really remember was the release of another science fiction film by the name of "Star Wars," and it wasn't until the early eighties on cable television that I began to appreciate "Close Encounters of the Third Kind." One of the aspects that sets his early films apart from most was his subtle, yet effective sense of humor. There are many scenes in this film that are just plain hilarious. This is a great story with some excellent acting, most notably from Richard Dreyfuss who won the Oscar for Best Actor in the same year for "The Goodbye Girl." I can't help feeling that his work in this film added to the Oscar voting. Apart from the magical Spielberg touches, which are everywhere, there is another force in this film in the score by composer John Williams. John Williams also won the Oscar for Best Score that same year for "Star Wars." As for the Special Features section on the DVD they finally have the deleted scene showing the inside of the Mother Ship. Steven Spielberg mentions in the documentary that he wishes he had never filmed the sequence, leaving the inside of the ship a mystery. But I love the scene, and I think it adds even more majesty to the ship seeing how huge it is from the inside. This is a Sci-fi gem from the 1970s. I highly recommend buying this DVD. Thank you. ... Read more

Reviews (37)

Into The Mist
Play Misty For Me is Clint Eastwood's directorial debut and it is an entertaining thriller about obsession that is a precursor for films like Fatal Attraction. Mr. Eastwood plays against type as a DJ Dave Garver, who works at a jazz station in Carmel, CA (The town where Mr. Eastwood would become the real life mayor ). Mr. Eastwood is usually the strong, silent type who seeks revenge or is an enforcer. In this film, he is a sensitive ladies man, who reads poetry on the air and plays jazz music. He is also the victim. He has what he thinks is a one-night affair with Evelyn Draper played by Jessica Walter. Evelyn claims that there's no strings attached, but that turns out to be the farthest thing from the truth. She stalks Garver, showing up unannounced at his home, at a bar he frequents and in one instance tries to kill herself in his bathroom. In the meantime, Garver is trying to get back together with his former girlfriend Tobie played by a young Donna Mills. Evelyn trashes Garver's house and almost kills his housekeeper, Birdie (Clarice Taylor) and is taken away by the police and put into an asylum. Garver thinks it's over, but Evelyn gets out of the asylum and there is one last chilling scene involving scissors and a knife. Mr. Eastwood uses the natural beauty of the Monterey Peninsula to great effect in the film, with wide shots of the rolling surf and picturesque sunsets. There is one odd montage in the middle of the film which is like a music video set to Roberta Flack's "The First Time Ever I Saw Your Face", in which Tobie & Garver roam through the landscape and end up in a secluded pond. The use of the two year old song in the film actually propelled it to number one on the charts and made a star out of the relatively unknown Ms. Flack. There is also a scene from the Monterey Jazz Festival with actual performances by Johnny Otis and Cannonball Adderley. The actors all give credible performances. Even though Mr. Eastwood is playing the sensitive type, he still exudes his famous cool. Ms. Mills is luminous and she is just fragile enough to be a victim. Ms. Walter is perfect as Evelyn. She plays the part of a psychotic, unhinged, scornful woman just enough over the top to be scarily believable, but not too over the top to become cartoonish. The film is a strong debut for Mr. Eastwood as a director and despite some dated material, the film holds up as an effective thriller.

A One Night Stand Gone Wrong
"Play Misty for Me" was Clint Eastwood's debut film as a director. He shrewdly had old friend and colleague, veteran director Don Siegel, who directed him in his box office winner "Dirty Harry," along as a potential backup if needed, giving him a role as bartender of the haunt the actor frequents as male lead in the film. Eastwood's idea to film "Misty" in his hometown, scenic Carmel in Northern California's Monterey Peninsula, was an excellent choice. It gave cinematographer Bruce Surtees an opportunity to take advantage of the visual beauty of the area, which he does with abundance, making the film a scenic pleasure to watch. Eastwood, a noted jazz lover, also shrewdly takes advantage of filming opportunities at the annual Monterey Jazz Festival. Playing a disc jockey in the film, we see time frames based on the number of days to the upcoming festival, which Eastwood plugs frequently. Lots of excellent firsthand shots of the festival are seen, while certain artists are observed showcasing their musical talents.

As for the plot, the story line is credible, sharply on point. Eastwood meets Jessica Walters one night at Siegel's bar after he has finished doing his show. He walks her home, learning she is the faithful fan who keeps requesting the Errol Garner classic, "Misty." When she makes herself available, he hesitates, revealing he is hung up on someone, namely Donna Mills, then away pursuing her art career in Sausalito. Walters responds that there is nothing wrong with them making love with no attachments, after which Eastwood agrees to what he wrongly believes is a one night stand.

Eastwood is ultimately smothered by the persistent and mentally disturbed Walters, who surprises him by showing up unannounced at his home shortly after their sexual escapade with a bag of groceries in her arms, declaring her intention of fixing him dinner. He tries repeatedly and vainly to shake her, his romance with Mills being jeopardized in the process. He even loses an opportunity to develop a musical program concept for an interested producer, Irene Hervey, after Walters, wrongly believing she has interrupted a date, launches a savage verbal assault on the other woman when she finds them lunching at a local restaurant. Eventually a frenzied Walters attacks and hospitalizes Eastwood's cleaning lady, Clarice Taylor, with a knife, after which both are hospitalized, in Walters' case being involuntarily confined for her mental problems.

Just when Eastwood believes he is rid of Walters for good he receives a call from her. She reveals she is at San Francisco Airport awaiting boarding of a flight that will take her to Honolulu, where a job awaits her following her release from the mental facility. Eastwood declares there are no hard feelings on his part, asks how she is feeling, and wishes her well.

As he goes back to playing records, agreeing to play Walter's last request, her favorite tune, "Misty," Eastwood begins reflecting on the lines from the poem Walters recited for him before ending their call. It was from Edgar Allen Poe's "Annabel Lee." Mills has told him that her new roommate is named Annabel. When he calls Mills the phone is answered by Walters, who has tied up Eastwood's girlfriend. She tells Eastwood she is waiting for him. Eastwood puts on an old tape and leaves the studio for Mills' Carmel Highlands residence and a fatal showdown with Walters, who intends to kill them both in her fitful rage.

This brutally realistic film paved the way for later movies displaying stark sexual realism such as Michael Douglas' two triumphs, "Fatal Attraction" and "Basic Instinct." My only qualm is that the violence could have been toned down in the case of the knife attack on Clarice Taylor without losing any drama or story impact. All in all, however, this is a gem combining a strong story that moves briskly with the dramatically beautiful scenery of one of the world's most captivating areas.

Good debut directorial!
Play Misty meant the forst movie of this talented folm maker. This one is a tense psychological thriller which opened the inspiration sixteen years later to Fatal atraction, Jessica Walter (Nominated as best dramatic actress in 1971 for the Golden Globe), gives a surprisingly role as never before , as the outrageous lover who literally remains obsessed with Dave Garver (Clint)a nigttime disc jockey who loves the jazz and receives all kind of calls by phone.
His affair is obviously unexpected , but it will lead to several bitter headaches and disturbing situation.
Well thriller , and stills keeps its expressive force.

What Clint Eastwood called,"The original 'Fatal Attraction'"
I first saw "Play Misty for Me" in the theatre way back in the early 1970's.Remember it well.It was a triple feature at the drive-in when tickets were around two bucks.That's something you don't see anymore,triple features,drive-ins and movie tickets for two bucks.Saw it recently on home video and the picture has held up rather well.Clint Eastwood plays Dave Garver, a late night DJ at a Jazz radio station in Carmel,California,(remember he was elected mayor there in 1986 in which he served a two year term in office). Jessica Walter gives a terrific performance as Evelyn Draper who is a big fan of Garver's radio program..Donna Mills is also very appealing as Garver's girlfriend Toby.It features fine cinematography by Bruce Surtees and a good score by the late Dee Barton.In an interview in 1988,Eastwood referred to "Play Misty for Me" as the original 'Fatal Attraction'".This was shortly after that picture came out and became a big hit.(Glenn Close was nominated for Best Actress for her role.She didn't win but she should have though.)"Misty" was made 16 years earlier and I thought it was just as good.The DVD edition has some interesting extra features too.

Some trivia for you,Steve McQueen considered the role of Dave but changed his mind.Eastwood made a long distance phone call to Roberta Flack to ask her permission to use her song "The First Time Ever I Saw Your Face" in the film.Shortly afterward the tune became one of the biggest selling hits of the 1970's.In the top fifty best selling songs of the entire decade according to "Casey Casem's American Top Forty Countdown".Unfortunately "Misty" was not a hit at the box-office.It was a hit with many critics though.The screenplay was written by the late Jo Heims.She was a secretary at Eastwood's production company Malpaso.It was co-written by the late Dean Riesner who co-wrote the screenplay for "Dirty Harry".Eastwood's friend and mentor and frequent Director Don Siegel has a cameo as Murphy the bartender.A few months later the two went on to make "Dirty Harry".And,"Play Misty For Me" was Clint Eastwood's directorial debut.And,a very impressive one indeed.A preview of things to come.

Buy "Misty for" Yourself
Not only was this a SCARY, disturbing thriller, it was beautifully crafted and very well cast. Even the musical score played a part in the film (hence part of the title - "Misty") and Roberta Flack's romantic ballad "First Time Ever I Saw Your Face". But with music aside, this movie did not have an ounce of predictability the way many thrillers have. Instead it presented originality, suspense, drama, and wonderful acting and directing all in one complete package. This movie even took at artistic view at the backdrop and scenery (set along the beautiful Monterey/Carmel, California coast). By incorparting all these elements made this film a true complete work of art. ... Read more

Amazon.com

Watching this director's cut, it's finally possible to see why the studio made Spielberg mercilessly hack up this comedy: it's a screaming movie (everyone screams a lot), and screaming movies do not need character development. So all those character-development scenes hit the cutting-room floor and, surprise, they were all critical to Spielberg's pace for the humor in this film. The screaming wasn't that funny then--and it still isn't--but what is funny are the reinserted development scenes, showcasing the now-evident sense of hysteria in the Los Angeles community, post-Pearl Harbor. A bunch of certified nitwits, and a few certified lunatics, act as if Tojo Hideki's entire Imperial force is just off the mainland. Actually, one Japanese submarine is, and it helps fuel the frenzy. John Belushi is Wild Bill Kelso, an insane fighter pilot, and Dan Aykroyd plays a conciliatory tank commander. Robert Stack's performance as General Stilwell, one of the best of the film, finally makes sense. Also fun for the numerous cameos, Spielberg's inside jokes, and John Williams's great score. --Keith Simanton ... Read more

Reviews (85)

1941
Steven Spielberg's overblown comedy is nethertheless a sporadically fun farce set during 1941. When viewed in comparison to other over-the-top comedies in the late 70s and early 80s (The Blues Brothers), it's one of the better ones, yet still dissapointingly glib considering the amount of talent on board. Dan Akroyd and John Belushi are the standout guys, making the whole messy carnage at least sometimes comic. And John William's score fits the film very well. But overall, the action is too loud, the comedy for the most part, is badly timed and goes too far. The main problem is the whole thing is based on the oh-so-wrong assumption that explosions and ferris wheels falling into the sea makes a good comedy. While it has it's moments, it's one of Spielberg's notable flubs. The extras are surprisingly good, with trailers, interviews with Steven Spielberg, Bob Gale, John Milius, Robert Zemeckis, John Williams, and and others, Steven Spielberg' behind-the-scenes footage, outtakes from the movie, storyboards and productions photographs and production notes.

The Most Explosive Comedy Spectacular of All Times!
I have to admit; I love 1941. There's some insane part of me that gets a cheap thrill from watching Hollywood Boulevard being destroyed by a bunch of total morons. 1941 may not be a great movie, but then again, no one was expecting it to be GONE WITH THE WIND. It's just an insane comedy that I happen to love.

The film has several different plots, all of which come crashing together during the last hour and a half of the movie. The Japanese, parked off the coast of California in a large Japanese submarine, make plans to blow up Hollywood. They are led by Japanese commander Commander Mitamura (played by Toshiro Mifune) and Nazi Captain Vonkleinschmidt (played by Christopher Lee). Back on land, Wally (Bobby DiCicco), aided by best friend Dennis (Perry Lang), hopes to win the jitterbug contest with Betty Douglas (Diane Kay), who is chased around by serviceman Chuck "Stretch" Sitarski (Treat Williams). Betty's friend Maxine (Wendy Jo Sperber) lusts after Sitarski, and Betty's father Ward (Ned Beatty) recieves an anti-aircraft gun that bears a striking resemblance to an army tank. Meanwhile, General's aide Loumis Birkhead (Tim Matheson) lusts after Donna Stratton (Nancy Allen), who is turned on by planes. And bursting through all of this is loud and crude nutcase pilot Wild Bill Kelso (John Belushi) who makes it his business to blow everything up.

The first hour or so is far more calm than the last hour and a half. During this, writers Robert Zemeckis and Bob Gale (who went on to do BACK TO THE FUTURE) set up all the characters and plot lines, not all of which I have mentioned yet. The gags are slowly milked out to their fullest extent, and Slim Pickens has a funny role as a drunk captured by the Japanese The last hour and a half, however, is a blast in the face of music, sound and imagry. There's lots to see here; a ferris wheel rolling off a peir, with two guys (Murray Hamilton, Eddie Deezen and Deezen's wooden dummy) on top of it; Beatty's wife Lorraine Gary watching in horror as he drives a tank through their home; and, of course, Kelso and all the others blowing up half of Hollywood Boulevard while General Stillwell (Robert Stack) watches DUMBO in the local theatre.

The music by John Williams is unforgettable, hummable and, as usual, absolutely perfect. The visual effects are amazing for their time, and even more amazing when you consider the fact that they're better than most of today's computer effects. All the technichal elements in the film are superb.

Will you like this movie? I don't know. I did, but then again, my sense of humor isn't exactly sophisticated. I thought 1941 was crazy fun, but don't see it if you have weak ears, and if you have the volume on high, brace yourself. The last hour and a half is basically people screaming and stuff blowing up, and it's LOUD. But I still found 1941 to be, in a goofy way, loud and insane fun.

The DVD is great. There's an excellent 110 minute documentary on the making of the film, and no wonder it's excellent; it was directed by documentary maker extraordinaire Laurent Bozereau. By the way, the cut on the disc is an extended cut that has about 26 minutes of extra footage. I don't remember the original version well enough to comment on the difference however. Also included are excellent production notes, great photo galleries, three fun trailers (the first of which has specially prepared footage), original reviews (which are, for the most part, really, really nasty), and some interesting deleted scenes. Also, Universal has graciously cut the movie up into 60 (!) different chapters. Talk about packaging!

It may not be a classic, and it may not really be about anything besides stuff getting destroyed, but 1941 is still VERY, VERY FUNNY. I recommend it both for the movie and this EXCELLENT DVD.

Animal House Goes To War -- Big Budget Comedy Noir
Do not forget to remember that this is supposed to be SATIRE, otherwise you may find "1941" to be a rather crude, over-extended joke. With US military personnel more interested in "gettin' some" than in defending America, it becomes clear immeditately that priorities are considerably confused. Two of the lead characters in particular seem hormone-raged and obcessed with "scoring".

Considered by many an overlooked Steven Spielberg Classic, I agree only with the technical aspects. Visually and acustically stunning, the macabre handling of serious historical subject matter and often repelling actions of bullies make this a less than "great comedy" for me.

Viewing this film on the now-obsolete laser disc format was a visual treat, maily due to the lavish cinematography and brilliant score. Sadly, I do not intend to view this film a second time. For fans of the original SNL "not-ready-for-prime-time Players", their "involvement" is an added bonus. Not enough for me, sorry.***

Ahead of its time, but not one of Speilberg's best...
I had never seen the film in 1979, so I had an open mind about the film. I have to say that the worst thing that happened to this film is that Speilberg directed it and has his imprint all over the film, which should have been a darker comedy than it turned out to be. However, you wouldn't have had the cast that wound up being in the film (early appearances of Ackroyd, John Candy and Mickey Rourke in film, and Bob Zemeckis' first real break into film), a nod to Kurosawa (Toshiro Mifume is the sub captain), Speilberg's own "Duel", and to Kubrick (Slim Pickens from Dr. Strangelove shows up). Considering John Belushi did few films, it's worth having on that alone. The dance sequences and cinematography are definitely worth the awards they would wind up picking up.

The film can overwhelm you a bit and confuse you, but that was the point. However, there's a lot in the film that can be applied in 2004, like Robert Stack's character (think Rumsfeld). Had Zemeckis had the pull to make what he envisioned it to be, it would have been a classic black comedy without a doubt,although in Europe it always has been.

Much overlooked.
I love this film!!! This is Spielberg's wildest, most frantic film. The jokes are hilarious, the action is aplenty and the sets are huge. A great film that never received the attention it so deserved. ... Read more

Reviews (559)

Violent as an art form
I was hooked to John Woo's productions since I was a teenager in Asia. His productions were always stylish despite limited budget compared with what he's doing now in Hollywood. Storylines are always kept super simple so that viewers are enticed to enjoy the rest of the movie. Then, I wondered if there were a day when John Woo would leave his trademark in Hollywood & boy, didn't he start with a big bang? MI2 is every bit a John Woo's movie. Having said that, he's more restrained in using those slow motion scenes which he tended to overkill in his previous productions such as Face Off & Hard Target. The perfectly choreographed fighting scenes reminiscened of Asian gangster movies with plenty of somesaults, kicking, fists in the air, gun fights which never seemed to be running out of ammunitions were first rate. If you have seen Replacement Killers by Chow Yuen Fatt, the viewers would know what I mean. The chemistry between Thandie Newton & Tom Cruise was accentuated with the ingenious cinematography of their first encounter in a function amid the commotion of Flamenco dancers with their rhythmic tap dancing, & clapping. Talking about passion! Then, there's the memorable car chases between them in a Porsche 996 Carbriolet & Audi TT. Wow!! Anyway, what made John Woo's movies memorable must be the plot which the hero has to sacrifice himself to save another, or vice versa. In that sense, we really feel for the characters. Moreover, there's always the final confrontation between the ultimate good guy, & the ultimate bad guy. No interruption but fight to the death between two worthy contenders. Smooth!! Remind you of Nicholas Cage & John Trovolta in Face Off in the final slug after the boat crush? Watch out for the bike chase sequence which bettered or matched the car chase sequence in Gone in 60 Seconds. What shouldn't be overlooked is the bolsterous soundtrack composed by Hans Zimmer which seemed to bring the movie to a higher level. Hans' contributions in previous blockbusters such as Backdraft and The Rock have proven my point. In addition, there's cameo appearance by Sir Anthony Hopkins (short but memorable) & commendable peformances by Tom's funny but competent side kicks such as Ving Rhames (who only got mad at the baddies after they put a hole through his Versace jacket!) & John Polson (Aussie block to the bone with much usage of "mate" in his vocabulary). This production is definitely first class & slick. Critics can say whatever they want about MI2 being a no brainer but hey, for its entertainment value, it's definitely one of the best action movie for Year 2000. I can't wait for the sequel. Can this mean that this is a threat to 007 franchise? Highly recommended for first timer or repeat viewing. Sydney is definitely coming of age as the Hollywood of the Southern Hemisphere as it has proven in the Matrix, this movie, & the up & coming Star Wars prequel. Good on you, mate!! For viewers who are interested in John Woo's previous works, A Better Tomorrow (with 3 sequels) starring Chow Yuen Fatt is regarded as a classics in Asia. Don't miss them.

Mission:Very Possible
M:I2 is to say the least a vast improvement over the original 1996 movie. Tom Cruise returns as secret agent Ethan Hunt, a spy that even James Bond would like to have as his partner. The films' opening sequence is to say the least, breathtaking, as Hunt climbs on top of a mountain to receive his new assignment. From this point the action begins.John Woo, as usual, employs his slow motion action sequences, those which are similar to his 1997 classic "Face Off", starring John Travolta and Nick Cage. The Dolby Digital soundtrack will knock your ear drums, to say the least your stereo system will receive a good workout. Although there are some scenes which could have been left on the editing room floor, such as the sappy love scenes, which really des not belong in this kind of movie. Watch for an exciting chase sequence near the film's conclusion involving motorcycles, which takes the film to a new level.In conclusion the film earns four stars for its' clever action sequences and a plot which is easy to swallow, considering the near IMPOSSIBLE to follow plot of the original. Remember, this was the #1 money maker of 2000. Needless to say a dissapointing year at the movies. Where is Star Wars when you need it

Mission Failure
Despite a few problems, I still liked the first Mission Impossible movie very much. It's too bad the sequel didn't hold my interest as much as the first film did.

IMF operative Ethan Hunt (Tom Cruise--sporting longer hair) is called away from his vacation by his new boss Commander Swanbeck (Anthony Hopkins in essentially a glorified cameo) to find a renegade agent. Once the mission begins, Hunt finds himself attracted to former agent Sean Ambrose's (Dougray Scott) girlfriend, Nyah Hall (Thandie Newton). These feelings complicate things as Ambrose holds the world hostage, threatening to release a deadly chemical weapon, if demands are not met. Hunt can also count on help from his pal Luther Stickell (Ving Rhames) when things get tough.

Director John Woo takes over for Brian De Palma, and with MI2, moves even further away from the concept of the television series. Hunt acts more like James Bond here than he did in first film. The only real difference is Hunt's long hair. Cruise may have the screen clout, but quite frankly is out of his element thanks to a weaker script. If you throw in Woo's trademark and tiresome overuse of doves and slow motion--it's practically a lost cause. As if that were not enough, Scott makes a very poor villian, ala` Aaron Eckheart in another Woo film, the equally poor Paycheck. The only bright spot for me was Newton...wow!

The extras on the DVD, may be more plentifull here, as opposed to those found on the Mission Impossible disc, but that doesn't mean that they are all worth your time. The audio commentary with Woo is OK but can get a bit tedious. The 15-minute "Behind The Mission" features "canned" cast and crew interviews. I did enjoy the Five-minute "Mission Incredible" stunts featurette. You also get to see the group Metallica's music video for the soundtrack song "I Disappear", a rather cool alternate title sequence that would have worked out better and the disc highligt, a very funny MTV Movie Awards show parody, "Mission Improbable" with Cruise, actor Ben Stiller and Woo. There's also a generous amount of DVD ROM material

What a disappointment...

Roxburgh too good for this film - he deserves better!
I would have given this movie more stars if Tom Cruise wasn't present in it, and Richard Roxburgh would have done a one man show. The scenes with Roxburgh, and only the scenes with Roxburgh was what kept me alive during the film. Although when that stupid Tom Cruise killed Roxburgh's character the movie ended right there. The scene was when he switched their faces, and I thought Roxburgh's character had beaten the crap out of Cruise's character and they killed him and I was feeling quite happy for the moment, until, they pulled the face off of Cruise and it was Roxburgh instead. I was DREADFULLY upset. And then it showed Roxburgh running, but it was really Cruise since he hadn't pulled off his face yet. He should've left Roxburghs face on (at least he would've looked better), and then he ripped his face off and it was Tom Cruise, thus the movie ends.

An action movie that will keep you entertained!
This movie is what action movies are all about. It keeps you entertained from start to finish, and it does pretty well in other ways. The story is still pretty good, nowhere near as good as the first one, but it's still good. Some people may say that the save-the-world theme is old, but that's what action movies are about. Give me one James Bond film where 007 didn't do that. Give me any other action movie without that theme. Lord of the Rings had it. Star Wars had it. So does the fact that M:I-2's story revolves around someone saving the world make the movie bad? No way! It's the kind of plot that makes an action movie an action movie. Moving on. Like others have stated, the purpose of action in these movies is not to seem totally realistic, but to be really entertaining and fun to watch. Actually, it still is pretty realistic. What's all this junk about Ethan hitting all his shots (Which is pretty unrealistic, I'll admit)? Didn't any of you watch the Biocyte shootout? How many of his shots hit one of Ambrose's men? Maybe a quarter of them! He's still human and has down-to-earth abilities, not completely unrealistic superhuman stuff that a lot of people criticize. And besides, until the road chase, it is perfectly reasonable that Ethan didn't get shot! Half the time he was behind a wall or lurking in the shadows, waiting for the moment to go Splinter Cell on a patrolling guard. Anyway, sorry I lingered. The acting in this movie is great. Tom Cruise gives Ethan Hunt a very human qualities. Thandie Newton, who plays Nyah Hall, also does the same for her character. Ving Rhames returns to the comic-relief character Luther (the brilliant computer programmer from M:I), and continues to give Luther the comical humor from the first movie. John Polson is introduced as the Australian helicopter pilot Billy Baird, and also gives a lot of humor to the movie. And by the way, both Rhames and Polson do a great job of acting besides the humor, and bring the characters to life very well. Dougray Scott is the villain in this movie, and does it very nicely. He gives Sean Ambrose the kind of madman look and nicely combines it with cold-blooded intelligence to make the character a very good villain. And finally, Anthony Hopkins is Ethan's new leader, and does a very good support role. What about the music? Well, if you've seen the first movie, the music is just the same with a little metallic feel to it. And if you haven't, then don't worry, you won't be dissapointed. This is a great action movie that will keep you entertained throughout the two hours of the film, and does well in areas that some action films don't quite succeed in, despite what others say. ... Read more

Reviews (214)

A great shame.
John Woo films have always had a tendency to rely more on explosive action sequences than masterful acting to pull the crowds. Face Off was loud but intriguing. M.I. 2 was loud but fairly stylishly done. Unfortunately, Windtalkers is really just loud.

The central plot is actually very good. Two U.S. marines must escort a pair of Navajo Indians who are trained to use a secret code to make transmissions to allies without Japanese troops earwigging. A factual plot too-this really happened. So all the potential was there, but the main problem from my point of view is that this movie was simply overdone.

Although the action sequences themselves are well done, nearly all of them are accompanied by dramatic war music which spoils the reality of them. There are also, if you can believe it, too many of them. Great war films like Saving Private Ryan and We Were Soldiers(watch that!) offered respite between the bangs for some thought provoking dialogue. Not so here.

The acting is far too over the top. Nicolas Cage is unusually poor, while Christian Slater barely breaks a sweat. I found that I did not care what happened to the characters-NOT a good sign.

This movie is a prime example of the fact that explosions cannot make a movie on their own. John Woo has made a good effort, but sadly this movie just did not hold my interest. If you REALLY like war films, you may like this movie, but otherwise, it's not really worth the postage and packaging!

ASIN: B00008PBZW

emotional, but lacking
i admit, it made me cry - but what ever happened to the lady nurse who helped Joe Enders pass his hearing test in order to be able to go back to war, and was writing him all the time? the characters are static, though the Navajos are slightly more dynamic; there was little background info. too much bombs and shooting throughout, and i especially did not like the melodramatic part when Enders killed Whitehorse along with the Japs and then told Yahzee,"I killed him. I threw a bomb and blew him up," acting so sarcastic, wanting to provoke and die. finally, the code language should have been featured more.

ful of stereotypes!
It is a well done typicall Hollywood movie but I have seen all this so many times. Everything is so predictable. The movie with such great actors as Nicolas Cage and Christian Slater doesn't have any material for them to work with. I was shocked that such inventive director as John Woo could make such lame movie. Not recommended.

I Wonder What the Wind Would Say
First of all I will say that the importance of the concept for this film is necessary and much overlooked. The involvement of American Indians in war is sadly left out of too many history books.

I was hoping this film would be better than it turned out to be. The historical facts should be recoginized along side all of the other celebrations of war heroes. Sadly this film was a complete bomb. The direction was predictable and the action scenes could have been shot by a five year old boy playing "war hero" in the backyard, alot of noise and piles of dust and actors pretending to be dead. All this with the constant drone of a musical score best left for a karoke bar to hum along to.

And what happened to Nicolas Cage? He used to be a great actor with individual style and presentation. It seems that he just keeps slipping away. I just was not convinced of his "hero" ability in this film....and his death scene is almost the most horrendous I have ever witnessed, not for the gore or emotional impact, but because it was simply awful acting!

Windtalkers
This DVD is not widescreen . And I need all my DVDs widescreen because I have a windscreen TV. Went to Hasting all of Windtalkers DVD are both widescreen and Fullscreen.
And I went back to my order from you and it show it was widescreen that was order.
What happen? ... Read more

Reviews (127)

Time warp in modern times
Based on Michael Crichton's novel of transposing modern day humans back into medieval times, it follows the book nicely. Personally I would much rather have seen a film of the trilogy written by Stephen Donaldson on the same hyposis and along similar times, one of which is titled A MAN RIDES THROUGH. Both usemirrors to achieve the time warp experience from medieval to this century.

This story takes place in 1971 where a diverse group of archaeology students, working under the auspices of ITC in New Mexico, are involved in excavating the ruins of Castlegard in France. Their professor has disappeared and, using a
wormhole in a wooded area, are transported back in time to rescue him. They have six hours in our concept of time and given markers to use for their return within that timeline.

Arriving on April 4, 1357, the day of a French attack on this particular castle, we see a lot of action. Only the modern men showed fear in combat. William Decker, stranded there 400 years in the past because of transcription errors, exemplified the savage cruelty which is second nature in a hostile environment. He showed this young group 'the price we pay' for discovery, that knowledge of history depends upon survival. One thing worse than dying here is living here, they were told.

This film uses a primitive set of castle grounds complete with thatched roof. The church at the base of a mountain on which a fortress stood contained a tomb of a couple holding hands in death. In the modern scene, the female student was intrigued with the dead man having only one ear. The mystery is revealed
during the fireworks of a fierce battle that evening.

One of their group was ready to change history over a woman; instead, he spends 25 years back in time to die in 1382. Andre Merick had his ear cut off and stayed behind with his love, Lady Clare.

You've just got to see the Greek fire used in this fight in the name of justice. They were told, "God is on your side." The night arrows turned the tide. A lot of fire was used.

Because of the timeline (6 hrs. down to a few minutes) for anyone to safely return, a battle was also going on in the lab as time runs out. You must see the entire episode to discover who indeed returns and who is lost. "Well done, my Lord."

Zero artistic effort here
What a lazy, sophomoric effort by Richard Donner. I read Timeline a few years ago and I recall enjoying it. It wasn't great literature, but it was fast and fun and I looked forward to the film version. I regret to report that I honestly can't think of one single redeeming feature in this sorry excuse of a film. A script that butchers the book, which is amazing in itself. Crichton practically writes his novels for the screen these days. Uninspired directing. In the past Donner has given us some fine work like Ladyhawk and Lethal Weapon. It was painfully obvious that the person who made this turd just did not care if it was good or not. The cast was barely adequate, with only Gerard Butler making any kind of impression. The action scenes were cable TV quality, as were the sets and costumes. How bad was this movie? Congo (another Crichton novel that was mugged by the filmakers), by comparison, was a good movie. Zero artistic effort here. Sub-zero, if there is such a thing.

Could have been better
Abraham doesnt sound like too intelligent of a reviewer so I will try and make sense of it.

The movie is entertaining, if LOOSELY based off the incredible book by Michael Crichton. (Abraham, i suggest you read the book before blathering off about something you know nothing about)

There are plot holes, bad acting, and less than stellar wardrobes. But if you have read the book, it is still entertaining to see the characters on screen and see the story in action.

in my bottom 5, occupying # 2.
Book? I don't know about any book, I'm talking about the movie. I can't believe someone even dared to share this crapp with us.

Filled with flaws, TERRIBLE acting, stupid plot (ergo stupid screenplay), cheap unbelievable custome design, cheesy, artless, mindless, insulting, etc. etc. etc.

I wish I'd watch it more recently so I could make a list for you of all the flaws, mistakes, nonsense presented in this rubbish. I can remember an example though:

When the archeologists are discovering that new "whatever" underground, the girls says: "Who would destroy such a beautiful piece of art?" (the stone). Then, when they are back in middle age, she is infront of the stone and she must break it so they can escape, then she remembers what she said and answers herself: "Oh, I did it". (...) What?! The writer might've as well al least watched Back To The Future to get some lessons on time-traveling rules. Nothing you change in the past can be seen in the present before you did it (before the time traveling), because if wouldn't have any sense. In less words, what if she decided NOT to travel in time? Would that stone be broken? Who would've done it? crapp, crapp, crapp.

No opinions here, some movies are still about opinions (In my opinion it's good, in my opinion it's bad), this is plain bad and anyone who thinks the contrary has no idea what he's talking about, and if you son't believe me, check the general rating.

Wish it were longer, more details.......
My husband and I really enjoyed this film, it could have been longer, providing more details, like how they arrived at building the aparatus in the first place, why the first guy was killed, and by whom, Why Deckar was left behind, and felt compelled to kill the person that left him behind. Just develop it more, it has great potential for what might have been, but is still really enjoyable the way it is. ... Read more

Reviews (126)

Exceeded all my expectations
I went into this movie not knowing what to expect. I love Nicolas Cage and Sam Rockwell, but also realized the subject matter could easily become stale and uninteresting.

I settled in and at the end of the movie I was overwhelmed. This movie succeeds on so many levels. It works as a great comedy, as a wonderful morality play, and as a drama about very bad people doing very bad things.

Nicolas Cage is a con artist with a series of neuroses that keep him constantly on medication in order to function. His partner, Sam Rockwell, is a wise-cracking guy who is instantly lovable as Cage's bad-guy sidekick. The movie focuses on Cage and his attempts to reconcile himself with a past wife and child he left when his wife was only 2 months pregnant. He decides to get in touch with his ex-wife to see if he's a father. He finds he has a 14 year old daughter, who steps into his life to try and build a relationship with him.

The role of his daughter is played beautifully by Alison Lohman. She's funny, charming, and lovable as a girl who has been searching for someone that didn't just look at her as unwanted baggage. Cage and Lohman have very good chemistry as father and daughter. Their relationship is one of the most charming parts of the movie.

To go into the story too much would give it away. And, believe me, to give this movie away before you see it would be a crime. So suffice it to say that it'll surprise you, make you laugh, and make you think all at the same time.

The last scene, in my opinion, makes the whole movie twice as good on its own. It left me with a smile on my face all the way to my car.

Take my advice. Watch this movie, but don't let anyone tell you what happens in the story. Find out for yourself. You'll be MUCH happier that you did. And you'll want to sit through the whole thing a 2nd time (I know I plan to).

Twitchy
For Nicolas Cage fans, MATCHSTICK MEN is a treat diluted only by the knowledge that Cage wasn't even nominated for an Oscar-worthy performance.

Cage is Roy, teamed with partner Frank (Sam Rockwell); both are con artists, or "Matchstick Men". As the film opens, we watch as the two cash in on a scam that enables them to plunder the bank account of an elderly couple.

Roy is also an obsessive-compulsive with phobias for dirt and the outdoors. Without his medication, Roy gets twitchy. One day, he accidentally knocks his pill supply down the kitchen sink. Bad timing, since his psychiatrist drug supplier is out of town. On Frank's advice, Roy visits a new shrink, Dr. Klein (Bruce Altman), to whom he admits a previous marriage abandoned some fourteen years previous when his wife was pregnant. Through Klein's intercession, Roy is put in touch with his teenage daughter, Angela (Alison Lohman), who's always been curious about Old Dad. Indeed, against her Mom's wishes, she appears on Roy's doorstep to spend a long weekend. Roy is alternatively smitten with paternal affection and acute anxiety over the dirt Angela tracks onto his carpet. Klein believes the girl's presence is good therapy.

MATCHSTICK MEN is about scammers and cons, so, by the time the credits roll, you shouldn't be too surprised at the general storyline, which is one oft seen before. What elevates the film is the intensity of Cage's extraordinary performance as the mentally tortured lead. We've watched Nicolas do this previously in LEAVING LAS VEGAS and BRINGING OUT THE DEAD. Cage is apparently not one for whom a role is simply a facade easily sluiced away at the end of the day's shoot. Cage always makes me believe the scree