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In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives--and blame them for squandering The World Is Not Enough's initial promise by the final reel.

By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Bond 5.0, Pierce Brosnan, undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalizing are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices, and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives, and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences.

Indeed, the procession of perils plays like a greatest hits medley, save for a nifty sequence involving airborne buzz saws that's as enjoyable as it is preposterous. Bond's grimmer demeanor, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who's even more improbable as a nuclear physicist. Ultimately, this World is not enough despite its better intentions. --Sam Sutherland ... Read more

Reviews (447)

The best Bond film yet.
The 19th MGM James Bond-007 movie is here. It's probably the best movie yet. It has the best stunts.

Filmed in: England, France, Spain, Turkey, Azerbaijan, and the Bahamas. The name is taken from 1969 On Her Majesty's Secret Service when James takes a look at his coat of arms and is told that the family motto is: The World Is Not Enough.

Of course, Pierce Brosnan returns as the role of 007. Sophie Marceau as the murdered tycoon's daughter, Elektra King. Denise Richards as nuclear expert, Dr. Christmas Jones. Robert Carlyle as the doomed terrorist, Victor Zokas aka Renard. And John Cleese as R, Q's assistant. The movie also sees Robbie Coltrane's return as Valentin Zukovsky and Judi Dench 3rd appearance as M, the boss.

The plot involves Sir Robert King, an oil industrialist. He buys a report about the Soviet's missile department accidentally thinking it contained info about the terrorists attacking his pipeline in the East. Surprised to find out his money was wasted, a Swiss banker retrieves the money. M sends 007 to pick it up. But the banker, Lachaise, is in for a surprise. The report Sir Robert bought was stolen from an MI-6 agent who was killed for it. Knowing Lachaise knows who killed the agent, Bond threatens him. Unfortunately, Bond only escapes with his life and the money. No name. After a spectacular scene, Sir Robert is dead. Days later, his daughter Elektra takes over the construction of the pipeline. But 007 suspects there is something suspicious about terrorist Renard, the King organization, and even Elektra herself. M refuses to listen to 007's crazy instincts. Only Dr. Christmas Jones & Valentin are on Bond's side.

The movie sees Q's retirement. And a good thing too. After all, the DVD isn't dedicated to Desmond Llewelyn for nothing. However, Q has given the Q labs to R. Probably a bad choice. R will talk you through putting a shirt on!

The language features are: Languages-English and French. Subtitles-English, Spanish, and French.

Special Features. Music video performed by Garbage (the band). The Making of The World Is Not Enough. Audio Commentaries. The Secrets of 007-alternate video options. Theatrical Theater.

Well, that's about everything this DVD includes. Hope the review was helpful.

Bigger and Better!
Here's a Bond film that deserves to be ranked among the best in the series. Along with the usual Bond formula of high tech gadgets, one-liners, and of course, the Bond girl(s), this latest installment also provides a story with a different twist. Throw in a combination of mind games, an unusual villain, exotic locales, and amazing stunts and you get an explosive, testosterone driven, eye-candy, action-packed thriller with a dash of high quality performances. One sequence in particular is the high adrenaline boat chase along the Thames River that takes place very early in the movie. Cool stuff!

The story delves much deeper into the psyche of James Bond than previous 007 flicks. Pierce Brosnan plays a much darker and vulnerable 007 in his third run as the British super agent spy James Bond. The World Is Not Enough also showcases the acting talents of Dame Judi Dench (who plays M) and Sophie Marceau as well as many others. John Cleese, of Monty Python fame, also plays a role in the movie as the heir apparent to Q. Every character played a larger role in this movie, in which, there were times when I felt James Bond was a supporting character rather than a leading one. There is definitely no shortage of star power in this movie.

A few things I didn't like about this movie (just my personal opinion mind you) were the opening Bond song, the paraglider-ski sequence, and the miniature scaled models. Yuck! Still though, this latest 007 thriller gives a good ride! Humor, international intrigue, and plenty of action. This is a James Bond of the 21st Century and I hope Pierce Brosnan sticks around to do many more like this one!

Bond is the best of this time......Dry,humorous,and elegant,
Mr.Bond is ranking itself as the highest of his quality,and is back once more,but this time dry as a glass of martini,and elegant as far as he could ever get,making his job as right as Beethoven while composing his 9th.
James bond,her majesty's loyal star,is back in a very different style and story;He is involved in a complex of a villian trying to take over the world with his lover's own oil pipe line. The thing is,you see,he feels no pain.Nothing.Amazing,as it is surprising for the first time to hear it. Elektra,the new bond girl,is to my own taste one of the best bond girls ever in the series,simply because she has many sides to be related with,and sophie marseau,the actress,bringing an excellent performance in the role of Elektea.The other bond girl,christmas,portrayed by denise richards,has a small relation to a bond girl,but still interesting,though.
As well as the deep and dark plot which develops suprisingly,we also discover a more darker side inside the familiar characters,like M,for example,Which makes this movie special and wonderful.
Also,We are introduced to the the next Q(The great,humorous,and giant John Cleese,from the mighty "Fawlty towers" and "Monty Python's flying circus"),Which is,and believe in my own words,the best there is to portray the charcacter of Q.He is doing it very,very well.
You are going to see a different bond,a new bond,a complex and dark story,the best british humor ever brought to a bond film, and,of course,James Bond himself,Pierce Brosnan,is worth all of the bond touches and twists.
You think you can give me the whole world?
Well,the world is not enough,maybe,but the movie,believe me,does.

"I never miss"
This is the best film to date in the series, hands-down. It may not have the classic charm of Goldfinger, but a couple of viewings (something most people aren't willing to credit a Bond film with) reveal a film which is incredibly substantial, in an unprecedented - and unnecesary - way. It could get by on the charm of the locations, one-liners etc., but it still tries to put together a credible and interesting plot, and it succeeds.

The most obvious credit to the writers is Carlyle's brooding, existentialist villain, which reminded me of The Misfit in O'Connor's 'A Good Man is Hard to Find.' Carlyle, in surprising contrast to his turn as the psychotic Begbie in Trainspotting, plays the role with just enough subtley and understatement, making the character's evil much more believable than the cackling megalomania of earlier specimens. What I also like about the screenplay, though, and what isn't immediatley apparent, is that it casts some doubt on the role of Bond in the world. In other movies, he seems to have an absolute moral imperative, able to gun down scores of people without any consequence, simply because his enemies are abosolutley evil. In this film, though, among the ruins of the USSR (a theme already explored in Goldeneye), there's more gray than black and white, and the circumstances don't allow him to get off so blamelessly; ultimately he has to do something which he might might regret. It's far from making him human - if that were to happen, it would undermine the whole promise of the series - but it's an interesting take. Then there's the way the plot works in minor characters, like Judi Dench's M and the Russian gangster Zukovsky, both of whom provide a usually self-reliant Bond with indispensable help, while Zukovsky experiences the closest thing to character _development_ which anyone has probably ever experienced in a Bond film. As for Richards, I don't know what she's doing there, either, and probably it would have been a stronger movie without her, but at least she's hot.

What's The Point of Living If You Can't Feel Alive?
THE WORLD IS NOT ENOUGH (known to Bond fans as TWINE) may be Pierce Brosnan's finest outing as Bond to date. A more complex and nuanced story than most recent Bond films, TWINE recaptures a good part of the exotica and international intrigue of the Bond series as first conceived.

The precredits sequence sets up the story nicely: Sir Robert King, oil magnate and friend of "M" (Judi Dench) is killed by booby trapped money delivered to him by Bond. All roads lead to Rome, the roads being clues, and Rome in this case being represented by Electra King (Sophie Marceau), Sir Robert's beautiful daughter, who was the victim of a recent kidnap plot hatched by the mysterious Renard, a terrorist rendered unable to experience pain by a bullet lodged in his skull. "M" dispatches Bond to protect Electra, who has taken over her father's petroleum empire in central Asia.

From the moment he arrives in Azerbaijan, Bond is a hunted man. Although first enamored of Electra, Bond soon realizes that there is something amiss.

In TWINE, Brosnan resurrects the dark Bond of FROM RUSSIA WITH LOVE. His dual nemeses, Electra and Renard, are ably played by Marceau and Robert Carlyle, who both bring some surprising depth to their characters. Electra is particularly sympathetic, being both the brainwashed victim and willing accomplice of Renard. She is by turns sexual and ingenuous, vulnerable and implacable. Marceau is breathtakingly beautiful.

Carlyle's Renard, trapped in a body that can't feel, exudes both pathos and hatred as he plots the destruction of the democracies.

Dench's "M" plays a central role in the film, far larger than any "M" before her. The film is notable for being the last appearance as Desmond Llwellyn as "Q". Llewellyn, who played "Q" in almost every Bond film after 1964, died in a car wreck just days before the theatrical release of the picture, and John Cleese was cleverly edited into the film as his replacement, "R".

Denise Richards has the weakest major role, playing Dr. Christmas Jones, a nuclear physicist. Richards could have been left on the cutting room floor in her entirety. More's the pity, because Richards is a strikingly beautiful woman who is entirely upstaged by the exotic, erotic Marceau. Besides being a rather miscast improbable genius in cargo shorts and a tank top, Richards' character has even more of an "afterthought" feel than "R" does, as if the producers just couldn't tolerate the idea of the film ending with an unredeemed Electra King and no virtuous love interest for Bond.

Two hours and some of intelligent action-adventure, THE WORLD IS NOT ENOUGH fulfills all expectations. ... Read more

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It's been available on audio CD since 1985 (now in a newly-remastered edition), but the long-awaited release of the DVD version of Bring on the Night will be a cause for celebration for fans of both Sting and the Police. Directed by Michael Apted (Coal Miner's Daughter, Gorky Park, Enough), the film observes Sting and his new band as they rehearse and then perform their first concert, in Paris. The musicians, including Branford Marsalis (sax), Kenny Kirkland (keyboards), Darryl Jones (bass), Omar Hakim (drums), and two backing vocalists, are all superb, all with strong jazz backgrounds but a good feel for rock as well; and Sting's then-new material, drawn from his The Dream of the Blue Turtles album, is among the best of his solo career, especially "Consider Me Gone," "Children's Crusade," and the brilliant "Fortress Around Your Heart" (there are also several Police tunes, including "Roxanne" and "Message in a Bottle"). Equally compelling, surprisingly, are the insights, intended or otherwise, into the characters of the various participants. Sting himself is a bit of a stiff, frankly. Guarded, controlled, and not a little arrogant (he calls the pop music of the day "reactionary and racist"--except his, of course), he's in direct contrast to the others, especially the outspoken, irrepressible Marsalis, who's not at all shy about needling his basically humorless boss; Sting's manager, Miles Copeland, also has no problem saying exactly what he thinks. With a crisp digital transfer and remastered digital sound, Bring on the Night is highly recommended on every level. --Sam Graham ... Read more

Reviews (17)

This is where it all started
It is about time that this ground-breaking video finally made it to DVD, making it even more of an audio and video treasure. I can still remember the first time I saw the special on A & E almost 20 years ago.I had lost track of Sting and his wanderings after he had left the Police, and wasn't quite sure I wanted to find him anyway given the negative publicity (and my own disappointment) surrounding his departure from what is still regarded as one of the best rock groups of all time. Unsuspecting, while lounging on my back porch I flipped through the cable channels and fortuitously stumbled onto the program as it had just begun. The project was an unprecedented undertaking at the time, recording a band not only in live concert but through the whole process from inception to rehearsal to performance. The concept was as risky as it was revolutionary, especially for Sting who had everything to lose by not only gambling on a solo project, but by making this effort so accessible in such a unique manner to the viewing public. In its form and feature, it was also a prototype for what would become "reality" TV, long before there was such a category.

Beginning with location shots of the band in rehearsal at a French castle just outside Paris, we get an impressive portrait of Sting shaping a new musical ensemble: he lays out the rudimentary form of his original compositions, then brings them to life, gently but confidently directing his very talented charges, mostly accomplished African-American jazz players, through the complex arrangements, allowing for their contributions along the way. What becomes abundantly obvious, beyond his now-and-again reserve and arrogance, is Sting's finely-tuned sense of artistic expression, complemented by his technical knowledge of the medium. He knows what he wants and how to articulate it. In addition to the picture of music and musicians coming together, unpredictable and insightful interviews with Sting and other members of the band are spliced strategically into the body of the video. Apted's editing is excellent in these instances and rather spectacular overall. At times he even synthesizes the scenes from the concert performance of a song with those at practice, the two segments pieced together as one without missing a note or beat. We also are provided usually unseen glimpses of the band's manager, Miles Copeland, ensuring that peace reigns among the musicians while securing the preparations and publicity for their debut. Although we are fortunately not subjected to tantrums, petty arguments or catty exchanges, so typical of today's reality TV content, there is at least one incongruent inclusion: The camera follows Trudy, Sting's wife, to the hospital where we witness her giving birth to their son Jake. The event actually occurred while this was being made, but it's debatable whether it should have been part of the story. Criticism about it was voiced when it was first released and need not be revisted again. Suffice it to say that it is still part of the footage.

The A & E special "Bring On the Night" video culminates in the full live concert. Not surprisingly, despite playing unfamiliar music with an unorthodox mix of instrumentalists in front of an SRO French audience in Paris, Sting brings the house down. The finished songs are both well-polished and exciting as is their performance, which is near flawless. He finishes the evening (actually more than one night) and the video with an encore of a few selected Police songs, including "Message In a Bottle" which he sings alone on stage - while final credits roll. The show removed any lingering doubts in my mind, low those many years ago, that the lad from Newcastle is indeed a musical genius. Now in a modern format, it sounds and looks better than ever and is as inspiring as it was two decades before.

One of the best Music DVDs of all time
This is simply one of the best music DVDs ever made. You don't have to be a
Sting fan to be turned on by the overflowing energy, joy, and musicianship which this band exudes.The only other music DVD which comes close to this is the Talking Heads' Stop Making Sense. If you liked that, you'll love this.But Bring on the Night goes way beyond Stop Making Sense, as it is more than just a concert video.We are shown numerous rehearsal scenes which give you a feel of how this band worked together, as well as interviews with the musicians which are both insightful and hilarious (especially Marsalis). Hakim's drumming is smoking throughout.Marsalis' playing is always interesting, reinforcing the impression he often gives of being best when he plays other peoples' music. Sting's and the backup singers' vocals are piercingly beautiful.The sequence where you are taken into the delivery room for the birth of Sting's son, with "Russians" playing in the background, is truly moving.The sound and picture quality of the DVD transfer are even better than the original. It is a mystery why this movie was not a blockbuster success when it was first released 20 years ago. It is a bit pretentious, but after all, Sting IS a Brit and the pretentiousness of Sting in this movie pales in comparison with what followed in pop music, especially among Rap artists.Perhaps the DVD version will enjoy the success this remarkable film is still due.

Here it is...
...the best dvd-release of Sting (so far anyway) besides, of course, the fabolous and fan-dedicated "All This Time" from 2001. They share some similarities, the behind the stage/the performance-"mixed" footage, or easier said; we are invited to see parts of the rehearsal, parts of the show, and there are interviews with all the musicians with Sting in the lead. The main difference is; this whole consept behind the 1985-release (and tour) of the "Blue Turtles"-material was the big risk Sting was taking being a settled artist, but with this new sound, style and (not least) the musicians he'd hired things indeed could have ruined his reputation and carreer. As you very well know, it didn't! He recieved standing ovations from audiences all over, and became a hit also as a solo-artist. Me myself, well, being a Sting-fan mainly, and not of Police -let's just say that I'm not surprised. Sting is one, if not the one, of the most talented composers and performers (including the musician he has and still works with) in the world today, and this release is another proof of that. I am so happy "Bring On The Night" finally has been released in this format. The sound is superb, the picture too -so let's throw away the old tapes now and really enjoy this!

If you have a capable system, see it in DTS -the drum-opening on "If you love somebody...", it's like being there!

Sting somehow becomes, ironically, an "early" Eminem (not that I compare them at all, they far from share much of anything else, but) the fact that they were both the only white in their black groups and collegues, Eminem with rappers. Sting theming up with these talented jazz-musicians, and of course, this inspired his composings and performances. Not that it's jazz, actually it is hard to catogorize any of Stings' music. It's kind of "continental". But a lot of the improvisings naturally goes over into jazz. And in 1985 the band was facing a lot of shared opinions about their project. (like Eminem had to face until he convinced his audiences, and that's the similarity I find.) But this was before the final result. Sting convinced as well, and from here it has mostly been "going uphills" for my favorite artist.

Let me add to this that Stings' early influences take roots in jazz, and he was playing with jazz-musicians in the early days of his life. You can read about this in his biography "Broken Music". Recommended by the way!

"Bring On The Night" is very inspiring, and interesting that way. Sting is not the only reason for this, the interviews and opinions and presentation of the band is also "very new", and presents the project in a way I'd never thought of it before. You get respect for they opininons on the music business none of them see themselves as a part of, it's all about the performing and the love of the music. You realize this, and I especially enjoyed the interviews with Branford Marsalis. Also it is funny to see their unserious sides between the rehearsals, and the way they make fun of Sting in friendly ways.

This is the kind of release that makes you wish you could be the artist if just for a day, and it puts a smile on your face long before the credits start to roll.

Here's another reason why I am a fan!

Early Sting and Jazz or is it Rock
I just finished watching this DVD.This is great early Sting, taking a risk; Post Police.I really enjoyed the music, from a cast of excellent musicians.This is a documentary, so there are interviews over some (not all) of the music.Within the 25 chapters, there are maybe 12 full concert songs.The rest is rehearsal, with breaks in songs and interviews.Even a few of the concert songs, are split with rehearsal footage.There is the option in the special features to set your favorite song list that I have not tried yet.

The transfer to DVD is superior in widescreen.The .1 bass is great.The 5.1 surround sound is good, but it does not have the obvious separation of the instruments - like a Sax sound from the surround speakers only (As in the Sting DTS DVD music discs).

Overall, this is Sting in the early years and well worth the price of admission.

A true classic
Finally, those of us who have waited for the better part of a decade will have the great satisfaction of seeing and hearing one of the best inside-view videos on DVD.This is a landmark video - a reality video before the genre took off- and a very telling effort that relates the drama that unfolds behind the curtain for one of the most influencial rock musicians of the last couple of decades.An all-star line-up that features some of the jazz world's greatest young lions of the time:Omar Hakim (drums), Kenny Kirkland (piano), Darryl Jones (bass) and the venerable Branford Marsalis (sax).A truly stellar band playing some of the most progressive music of the time.The cd features different versions of the songs from the video release, which, most people who have seen the video will agree, was one of the most heinous crimes in the history of soundtrack releases.Be sure to check out the blazing solos in many of the songs; Kenny Kirkland's solo in the title track, Omar Hakim's drum solo - which seems to disrupt the fabric of time and space -in "I Burn for You," and Branford's smoldering-to-full-on-scorching solos throughout. ... Read more

Reviews (39)

The human spirit is alive and strong...
If I remember correctly, this movie was not rated well when it was first released in theatres. I couldn't understand why since it was well made, had a decent cast and had a thought provoking plot based on true events.

The cinematography is very attactive in showing the badlands of South Dakota and featuring looks into the Indian reservations. Also, the music was well done and offered a nice perspective of Native American sounds and environments.

This movie also sends a message about a darker time in America's past when the govenrment perpetrated some devious acts against the Native Americans. Maybe it was high time that these events came out into the open so that more people would know what happened and know that what the U.S. government did was very wrong.

Val Kilmer proved to be well suited for the "by the book" FBI agent that came of age and got in touch with his Indian heritage and learned to do the right thing. Sam Shepard, a great actor as always, played the role very well of the "dark horse" FBI agent with skeletons in his closet and a secret agenda on the Sioux reservation. Graham Greene could not have done any better as the reservation police officer. Showing his pride and dignity as an Native American along with the humorous backlashings at Val Kilmer made for pleasant interactions throughout the movie.

A movie worth watching again and again.

A diamond in the rough
Time over time, Val Kilmer has proven that he is not just a pretty face. He has continually impressed even the most severe critics that he is a formidable actor. THUNDERHEART, to me, is among his best performances.

There is some predictability in the plot: Kilmer portrays an FBI agent who is part Native-American. When he is sent to a reservation to investigate a crime, he begins to respect and embrace the heritage he had not previously acknowledged. What is not predictable, however, is how well the script avoids sentiment and focuses on Kilmer's transformation.

Loosely based on the actual events surrounding Leonard Peltier's American Indian Movement, and the murders of FBI agents on the Pine Ridge reservation (all of which is the subject of Peter Matthiessen's book "In the Spirit of Crazy Horse"), THUNDERHEART is a powerful examination of the surreal and frightening life on Native American reservations. Brutality is everywhere: whites against Indians, Indians against Indians, etc. Director Michael Apted does a remarkable job of tempering the violence with scenes of beauty and with images of a peace-loving tribe of people. This is a heartbreaking film at times, but there is a sense of justice in the long-run. THUNDEHEART is not a piece of hunk-actor mind candy. This is a powerful (and underrated) film that demands your attention. It is well-worth it.

They should have named it "Days of Thunderheart"
Just kidding. This is such a good movie. It would be a shame if more people didn't get to see it. All the characters are so interesting to watch. I saw it on cable when it came out and I had to own a copy when I saw it in the store. No gimmicks, just a good story and good actors.

One of the Best, but least-known movies of all time !!!
We have more movies than you can imagine, but we watch this movie probably every 2 months. And if this says anything for it, I'm an action and comedy kind of guy, and my wife is a chick-flick and foreign film person. We both love everything about this movie. This movie was very well done. All of the acting is well-performed. For being a drama/action movie, it has some great little twists of humor at times. I probably can't say enough about it that hasn't already been said in the good reviews already written here.

Poetic Justice
One of my all time favorite movies is this often overlooked classic. Ted Thin Elk, a genuine Souix chief, is one of the most beautiful men I have ever seen on film. His authentic spirit radiates from every frame he is in. Graham Greene is always brilliant. Val Kilmer makes his role seem like second nature. He is passionate and unspoiled.

There are a few moments that do seem a little cliche, though I only thought that after I had seen the movie a few times. The photography is mesmerizing,
and the script has many moments of sheer poetry. I love a story that can be read in layers, and that deals with life beyond the visible surface. Native American spirituality is woven throughout fabric of this story, but it never bogs itself down in esoteric mumbo-jumbo.

It packs a punch, and the ending always makes me cry. ... Read more

Reviews (52)

Best Country Bio Picture Ever Made .Loretta is the QUEEN !
I never grow tired of this movie. I have seen it over 100 times since it was released in 1980.I own it on laser disc,VHS and hope to find it on DVD. Sissy Spacek did a outstanding job playing the "Queen Of Country Music," Loretta Lynn. She more than earned the Oscar & golden globe awards show won. The soundtrack album is also a winner ! Everyone cast in this film was perfect. This film received 7 Academy Award nominations includeing BEST PICTURE. Loretta Lynn is still going strong 20 years after this movie was released. I seen her in concert recently and she still rules as the "QUEEN." I look foward to a sequal to this all time favorite film.

Diamonds From Coal.
I LOVE this movie. This heartwarming, true rag-to-riches film about the life of Loretta Lynn took even the most sophisticated audiences by surprise when it was first released. Sissy Spacek is wonderfully accurate in her portrayal of the legendary but still humble and approachable country music star. This film made people who HATED country music take a second look. The story of the backwards, backwoods, painfully shy little girl whose simple, self-penned, biographical songs made her a huge star with almost unequaled # 1 country hits, is just as touching and great as when it was released. Tommy Lee Jones is perfect as "Doo", the man who stood by his woman, and Beverly D'Angelo gives a memorable performance as the legendary Patsy Cline. The fact that Spacek and D'Angelo so effectively do all their own singing, considering the shoes they had to fill, just makes this film all that much of a wonder. Levon Helm, of The Band, is also very good as "Lorettys" daddy. Just an all- around terrific film, with many touching moments from a by-gone time, when a little girl with a record could tap on the radio station window one day, and be a star a week later. Sissy Spacek's Oscar winning performance makes for a total class production about a total class lady. Loretta Lynn became one of this city boys favorites since seeing this film, and she remains so... a true, greatly admired, humanitarian *star*, who could teach most other celebrities a thing or two about "stardom". A perfect film for the whole family, the ultimate "feel good" movie. Thanks Loretty !! (And Sissy, too.) Just GREAT!!

Mostly Sexual Slurs
I can't fault Sissy Specak's outstanding performance or her superb rendition of Lorettta Lynn's songs but this movie has more sexual overtones then a peep show.
To suggest rural women are totally worthless aside from making babies {Lynn's fictional husband says "We finally found something you can do", when she gets pregnant.}and singing insults the audience's intelligence. This is not a "take your kids to movie".
A very minor point but worth a mention is that the movie left out Lynn's half sister Chrystal Gayle but included Patsy Kline.

FINALLY! Loretta on DVD
I remember being 10 years old and seeing this movie in the theater. Every time it came on TV I watched it. When we got a VCR, I retaped it every time it played just to have a fresh copy. I owned the VHS and now FINALLY after all these years, I have it on DVD.

This is one of the best movies ever made. The acting was so real it was amazing. I never thought of the characters as Sissy and Tommy Lee, I always thought of them as Loretta and Doo. It's one of the string of "Biography" movies to come out, like La Bamba, Sweet Dreams and The Buddy Holly Story.

The music. 'nuff said! The performances are just incredible. The old Grand Ole Opry gang was still alive and they were in the picture such as Ernest Tubb, Minnie Pearl, & Roy Acuff. Of course, Loretta... I mean Sissy's performances were stellar. In the DVD bonus interview with Loretta, she said that she taught Sissy how to play and sing her songs. And boy did she do a good job! All the way from the nervous but cute Loretta in the honky tonk singing "There He Goes" to the lovely queen of country music singing "Coal Miner's Daughter", the sound of her voice and the music perfectly imitates Loretta.

Someone said that they wanted a 5.1 soundtrack to the movie. Well... the movie was recorded in stereo. The country songs in the movie for the most part were in glorious 1950s one-speaker mono to give that authentic 1950s country sound. It plays mostly through the center channel and that's good enough.

The bonus materials also show Loretta's Coal Miner's Daughter museum. It houses alot of pieces from her past as well as alot of stuff from the movie. It will be interesting to go actually see this and be able to see it in person.

If you love CMD, get this DVD! If you haven't seen it yet, what are you waiting for? DO IT!

Enjoyable whether you like country music or not
Whether or not you have an appreciation for Country Music or Loretta Lynn herself, you'll surely be entertained by this rags-to-riches biopic in the same vein as, 'La Bamba,' and, 'Sweet Dreams.' Great performances are in no short supply here with Sissy Spacek and Tommy Lee Jones in what would turn out to be career-making performances for the both of them. As good as Spacek and Jones are the supporting role that 'steals' the film in my book is Beverly D'Angelo's spirited performance as Patsy Cline.

While the video transfer quality of this 2003 released DVD is excellent, what baffles is the lack of a Dolby Digital 5.1 mix. Surely a movie dripping from start to finish in vibrant Country music deserves more then the Dolby 2.0 Mono audiomix on the disc. Very puzzling indeed. ... Read more

Reviews (19)

Very Good Documentary
This is an excellent documentary of the events on the Pine Ridge Reservation that led to the imprisonment of Leonard Peltier. It does sn excellent job of showing the incident from the side ofPeltier and the other Native Americans. It could have done more interviewing with the government authorities who were there. The truth can be seen through the government's lies as shown in books such as "The Trial of Leonard Peltier" by Jim Messerschmidt, "Agents of Repression: The FBI's Secret Wars Against the Black Panther Party and the American Indian Movement" by Ward Churchill, and "In the Spirit of Crazy Horse" by Peter Matthiessen. Those three and Leonard Peltier's book "My Life Is My Sundance" are all very highly reccomended for anyone interested in this subject.

The Earth is Weeping
As you probably already know, this film concerns the blatantly unfair trail and conviction of Leonard Peltier, for the alleged crime of murdering two FBI agents at the Pine Ridge Reservation in 1975. The documentary begins by putting the incident in its proper perspective by showing that the Pine Ridge Reservation, at that time, had one of the highest per capita murder rates in the entire US, with the vast majority of those crimes, even today, still filed as "unsolved" (Check out Ward Churchill's "Indians are Us" and Agents of Repression for a detailed account of the killings in question). In fact, from 1973 to 1976 at least 69 Aim members and supporters were murdered'and not one person was ever convicted, or even investigated, for these brutally horrific crimes. Why were these deaths not investigated you may ask. It is because the victims were primarily American Indians involved with AIM who were actively involved in the struggle to retain the lands lawfully granted to them in the Fort Laramie Treaty of 1868 against the federal gov't and the corrupt, unelected BIA administration of Dick Wilson. Many have openly claimed that Wilson and his so-called "goon squad" were responsible for these killings, but no investigation was ever conducted by State law enforcement officials or by the FBI; and yet the incident that led to the shooting that left two agents and one Indian dead, centered around an investigation concerning a pair of STOLEN COWBOY BOOTS. You can draw your own conclusions from that.


Although three men were originally charged with the murder of the agents in a separate trial preceding Peltier's illegal extradition from Canada, the first two defendants were determined to be not guilty of all charges'their acts viewed as self defense. After this embarrassment the FBI decided that Peltier would be convicted at all costs and set about the task of 'constructing' a case against him. After a trial marred by official perjury, witness intimidation and clearly manufactured evidence, Leonard Peltier alone was convicted, but then, only after the original judge was inexplicably removed from the case and replaced with one "friendly" to the FBI by a prejudiced jury of his 'white' peers. This film shows the disturbing details surrounding how Peltier was ultimately convicted by this court presided over by an obviously prejudiced judge and jury on what amounts to a mountain of manufactured evidence, witness tampering, and lies.

As the film and the FBI's own evidence shows there is absolutely no proof that has not been exposed as fraud, that links Peltier to the murder weapon or the red van (Peltier drove a pickup truck) that the agents reportedly followed onto the reservation. The FBI goes so far as to argue that 'people in this part of the country call a pickup truck a van and vice versa''to explain just one glaring inconsistency in the government's case. The FBI's own statements are filled with inconsistencies and outright falsehoods, which resulted in the Federal Judge Edward McManus of the first trial harshly rebuking them for their shameful, reckless and unlawful behavior. In the video the FBI spokesman's dishonesty is clearly, if not painfully, apparent. Simply watch this video and decide for yourself. You will be surprised and certainly appalled by what you see.


'Incident at Oglala' is a vitally important document detailing a form of repression and cultural genocide that has continued, although in differing forms, since the arrival of Columbus, against Native Americans. The Dali Lama, Nelson Mandela, Bishop Desmond Tutu, The European Parliament and Amnesty International have all urged that executive Clemency be granted to Peltier based on the facts of this case and the massive miscarriage of justice that it represents. This important film is a must see for anyone who cares about the ideals of freedom and justice in this country and the shameful realities that, all too often, hide behind those noble-sounding terms. For as long as men like Leonard Peltier and Mumia Abul-Jamal remain imprisoned, none of us are completely safe from the same treatment.
Mitakuye Iyasin!

WHAT IS JUSTICE?
O.K., SO BUSH SUCKS. WHAT'S NEW? IRAQUIS, INDIANS, ALL THE SAME TO UNCLE SAM.

INCIDENT AT OGLALA - THE LEONARD PELTIER STORY
INCIDENT AT OGLALA IS AN EXCELLENT DOCUMENT AND A MUST SEE FOR ANYONE WANTING TO LEARN MORE ABOUT LEONARD PELTIER AND THE MISTREATMENT OF AMERICAN INDIANS IN THE UNITED STATES. FBI MISCONDUCT WAS RAMPANT THROUGHOUT THE DOCUMENT. CURRENTLY, LEONARD CONTINUES TO SET IN A CELL IN LEAVENWORTH WITH NO EVIDENCE TO PROVE THAT HE BELONGS THERE. MOREOVER, MUCH PROOF EXISTS THAT HE DOES NOT BELONG IN PRISON.
WATCH THIS AND GET INVOLVED WITH THE BUSINESS OF BRINGING LEONARD HOME. TWENTY EIGHT YEARS IS TOO LONG FOR JUSTICE TO NOT BE SERVED.

Decent documentary, inconclusive case.
Peltier is an otherwise forgettable Native American activist who ought to be grateful for the fame his incarceration has brought him through the years. Clearly, his voice prior to Pine Ridge has been amplified a million fold since Pine Ridge. Do I think he's innocent? No. Do I think he's guilty? Probably. Yeah, maybe he is "innocent" of the murders themselves, but sometimes if you're standing close to the burning building, and the fire marshall sees you with matches in your hands and the smell of petrol on your clothes, you're liable to go down for arson. Perhaps you didn't in fact burn the building, but man, what the hell are you doing there with matches and gasoline? Such is the Peltier case, and the politics and heated emotion surrounding this case make it almost impossible to examine impartially. Many cry that this is just another example of big bad government sticking it to the Indians. I'm not so sure. As Lincoln said of militant abolitionist John Brown, there can be no excuse for murder and treason, no matter how just the cause might be. If we forgive a guilty Peltier (or Abu-Jamal for that matter) of his crimes simply because we are sympathetic to his cause, what does that say about us, or our dedication to a just America? ... Read more

Reviews (181)

Review for GERM 241
Enough, directed by Michael Apted and starring Jennifer Lopez, was advertised as a movie about an abused woman's revenge on her evil husband. One would guess, then, that this movie would be inclined toward feminist principles; however, there is evidence of sexist representations of both men and women, and instances of the objectification of women. Before her husband is proved to be an unfaithful and abusive man, the film unfolds like a fairytale. Mitch, a wealthy contractor, meets Slim at her waitressing job and rescues her from her blue-collar world. They have the perfect wedding, the perfect house, the perfect daughter, and the perfect life. This first section of the film reinforces the stereotype that working-class women need a strong man to save them and give them the life they want.

The first dose of reality hits when Slim discovers Mitch is cheating on her; she protests, he hits her, and she determines to leave him. The fact that Slim is very strong in her decision to not wait for him to hit her again certainly sends a good message to women and girls about abuse. It seems for a moment that the stereotype of the fairytale romance will be subverted and that the woman will triumph. The reality of what happens next is just as questionable as the fairytale beginning to the story; Mitch becomes completely evil, like a villain from a comic book, while Slim becomes the self-sacrificing mother who would do anything for her child.

On the surface, Lopez's character appears to be a strong, independent woman who is capable of taking care of herself. However, throughout the film she proves to be dependent on men. Her adoptive father helps her escape from Mitch's house with her daughter and she turns to her biological father for financial help. She seeks shelter and support from her close friend, Joe, and she finally seeks training in fighting techniques from a man. Ginny, played by Juliette Lewis, is a female friend who does help her a great deal, but most of the people that helped to 'save' her were men. This reinforces the stereotype that women cannot really be strong on their own; they are never really safe without the help of men. Another stereotype of women supported in this film was that of the mother. Slim does absolutely everything for her daughter, Gracie. Never does she speak of leaving Mitch for her own good; Slim always speaks of the safety of her daughter. In other words, the filmmaker is essentially saying that women must remain mothers above all else.

In addition to the female stereotypes we see, the idea of a woman being surveyed by the male surveyor is seen several times in Enough. At the very beginning of the movie, Mitch sees Slim and finds her attractive; he is a wealthy man who observes a beautiful woman and wants her for his own, so he takes her. Later in the film, when Slim has changed her name and moved to the west coast, we see Mitch's henchman staring at her through the window, simply watching her sleep and get dressed. Then, when Mitch arrives to 'take back what is his,' he also observes her like someone watching a movie. He looks at her from afar like a man surveying his land; he clearly sees her as his property rather than an actual person.

ONE TOUGH COOKIE-
I am a fan of JLO , I never miss a new movie of hers, but this one left me wondering (?), after seeing the trailers. I realize now they were quite misleading and I pegged the film as a B rating. I had interpreted them as a typical "Sleeping with the Enemy" type of film. Husband beats wife, wife runs. Well, to a point that's the basic plot of "Enough". On the otherhand, Jennifer Lopez as "Slim" gives us another advantage point. We see her fall and bleed, we see her run for her life, we see her reach her limit. What we also see is the humanity. (And yes, she makes the Julia Robert's character seem terribly useless in "Sleeping with the Enemy")It's not all cat and mouse. The characters in this drama must play by the rules. The law is not really on anybody's side.

Slim leaves her abusive husband with her daughter Gracie in tow and with help from friends old and new, lives a life on the run. It's not her daughter who's in danger, it's her. If she is found her husband (played by Billy Campbell)he will kill her.

So what to do? Go to the police? He'll find her. Go to a friend? He'll find her. She decides to use the rules her own way...she spends one month traing heavily with a martial arts instructor and decides to make the fight fair.

Jennifer Lopez does a fabulous job, as usual, of never playing herself. She is Slim, the once submissive wife who wants to be happy. Be we watch her become much more...a tough cookie who knows how to play a man's game.

I enjoyed this movie very much. Lopez always surprises me with her characters. Some scenes were very difficult to watch. Many times heartfelt moments between Slim and Gracie were real tearjerkers. I am not sure how a movie like this would translate into the real world, but on-screen it seems quite convincing. My only problem with the movie...I wanted more from the ending. It left me a little dry. Otherwise, I would say most would enjoy "Enough" as a great night's rent. Kudos to Juliette Lewis, I haven't seen her in a film for years. She is an outstanding actress (remember "Cape Fear")?

I want a rematch.
Boy howdy, the fems are getting pretty rough these days. I suppose after generations of being dominated by the male sub-species that once the ladies decided to strike back they meant just that: strike back. A perfect example of estrogen TNT in a can is Jennifer Lopez swingin', sweatin', and kickin' in ENOUGH.

Let's face it, we all know where ENOUGH is headed. J-Lo plays a greasy spoon waitress (yeah, like that's believable) who happens to fall for a smooth-talking swell (Bill Campbell) who turns out not to be the nicest guy on the block. Er, the planet. And when J-Lo confronts Hubby about his flagrant infidelity, Hubby responds with some fisticuffs and then refuses to let his wife out of the marriage. Granted, Campbell is ultra-creepy to watch. . .he's so revolting and disgusting that even my dog knew he was going to get the ultimate comeuppance at the end of this flick.

With the help of friends, J-Lo and young daughter flee and relocate thousands of miles away, yet Hubby is relentless in his pursuit. Once it becomes obvious that a custody showdown is inevitable, J-Lo does the only logical thing: She enlists the aid of a martial arts dude and learns how to fight like a tiger. Tigress? Then, it's back to California to sneak into Hubby's new flat and extract a pound of posterior. And, of course, predictability reigns supreme as the film rolls to its conclusion.

I've had the luxury of viewing this film with other ladies, and their reaction has been somewhat universal. Not a one of them would have put up with the guff J-Lo did; in fact, the first time a punch was thrown Hubby would have first been looking at the floor to find his mountain oysters, just before he would feel the piercing pain of buckshot. But, perhaps justice is swifer in my neck of the woods. Anyway, in ENOUGH J-Lo kind of blindsides her husband during their kung fu match. Ain't fair. I demand a best two-out-of-three.
--D. Mikels

Female Empowerment
Jennifer Lopez stars as Slim in this thriller about an abused woman who flees her rich and well-connected husband Mitch (Bill Campbell). At stake is not only Slim's well-being but also the psychological and physical protection of their young daughter Gracie (played adorably by little Tessa Allen). Although this flick has the trappings of a feminist fight-back story with its theme of domestic violence and custody laws, make no mistake: this is a thriller through and through, with twists and violence and personal peril at every turn. Women will delight in the training scenes where J-Lo prepares to fight back, and men will hardly mind the sight of the buff actress learning to defend herself.

Yeah, the premise as it unfolds is a little ridiculous, especially as Mitch seems to have a GPS system to track his fleeing wife, but the escapism is pure adrenaline-rushing fun. Jennifer Lopez is naturally appealing and solid in her performance, although the emotional range of the role seems to demand only fierceness and fright. Still, the chemistry between her and young co-star Allen is unmistakable, even poignant. Noah Wylie does a fantastic turn as Robbie, a character I won't describe for fear of spoiling the plot. Juliette Lewis has her usual on-screen charisma even though she's not given much to work with.

This film was much better than I expected. Viewers hoping for something new or even substantial on the theme of domestic violence will be disappointed since it only serves as a plot device to put Lopez's character in danger. This would make a great date flick since men will appreciate the constant action (not to mention the lead actress) and women will be drawn to the subject matter.

Great Movie
Enough is one of Jennifer Lopez's best movies. The movie is great and the acting is great. This is just one great movie. I would recommend this movie to anyone who likes suspense and Jennifer Lopez. If not rent, you'll still think this is a great movie! ... Read more

Reviews (14)

A Timeless Classic
Maybe it's the fact that I used to watch cable television nearly every waking moment in the early 80's, but this is one of those classic movies I can never get enough of!

Ernie Souchak (John Belushi) is a Chicago reporter on assignment in the Rocky Mountains whose subject is environmentalist/bald eagle protector, Nell Porter (Blair Brown). Overweight and out of shape, he tumbles and stumbles through hikes and climbs with his agile counterpart learning about the 'other world' that exists outside the hussle and bustle of city-life. Initially turned off by the brazen Souchak, Porter slowly finds him midly attractive but always keeping her distance.

Without giving the entire story away, they wind up crossing paths again, this time in Souchak's town of Chicago. And in a fresh take, the movie doesn't end in typical Hollywood fashion.

Afficionados of romantic comedies will absolutely love this film. I, for one, developed a huge adolescent crush on the naturally beautiful and charming, Blair Brown. There are definitely some tear-jerker scenes and I'm not afraid to admit they get me everytime. Probably the fact that for a change, you saw John Belushi portraying an everyday charming guy everyone can relate to. Even the still photos of John and Blair together on set, smiling and throwing snowballs at each other on the closing credits is enough to make a tear well up, knowing this was one of Belushi's final movies.

Highly, highly recommended!!

Charming, though thin romantic comedy
A highly unlikely, though heartwarming romance between two very different individuals, CONTINENTAL DIVIDE features a trying-much-too-hard John Belushi, and a lusterlack Blair Brown. The background info about the making of the movie is much more interesting than the film itself (Belushi lost 30 pounds for the part). However, I watch this idealistic romantic comedy often because it reminds me that if you really want something, there is a way to make it happen!

a different side of john belushi
I saw this movie the other night and I was captivated. I only thought that John Belushi was a comedic actor. I watched and watched as I saw that there was more to John Belushi than meets the eye. The film shows the Animal House John Belushi in the beginning but later shows a different actor. The movie shows that he is a compassionate person. In short, I loved this movie I think that John Belushi is an extremely talented actor. I think it is ashame that he passed away at such an early age. I think thatn he could have made an important contribution to the film industry.

Continental Divide
This is John Belushi's finest moments, I could watch this movie over many times, I highly recommend this movie will be a great addition to anyones collection.

From alcohol to the alps
John Belushi is forever connected to the alcohol abusing, self depricating , and party animal charators that he 's reknowned for playing in other films. Luckily , before his untimely demise , he participated in this project...Continental Divide. It totally seperates him against typecast and shows just how much diversified acting ability , he had .Whereas , alot of people (typical Belushi fans)didn't appreciate this effort, I think it was extremely refreshing. It only took me about five minutes to forget that it was John Belushi portraying Ernie Souchak. A top dog columnist who's forced out of town to do a safer article , at the request of his boss , to save him from danger. Blair Brown's Nell Porter, provides the perfect opposite, for Belushi's Souchak. The film has a very basic "boy meets girl " formula. However ,the script and actors take this film to an all time high. It is a very special film that provides very special and cinematic moments. I enjoyed it when I was a teenager and I hated love story's. But there's more to this tale than just a typical spin. Definately not a film to be missed. ... Read more

Reviews (38)

Oh Nelly!
Nell is an earnest and slightly soporific drama about a doctor's inadvertant discovery of a wild child in the remote hills of North Carolina. Jerry Lovell (Liam Neeson), a rural MD is dispatched to confirm the death of a hermit-like mountain lady and is quick to discover a cantankerous, violent, and unintelligible young woman, obviously the old woman's unacknowledged daughter,hiding in the cabin rafters. Lovell is immediately captivated by Nell (Jodie Foster) and is soon joined by career-climbing psychologist Paula Olsen (Natasha Richardson) in attempting to decode the mysterious woman's gibberish-filled rages. Before you can say "Wapner at 5:30," this hillbilly rain woman's past becomes brutally clear: her mother, a victim of rape in her youth, had given birth to the child but kept her a secret from the the world for thirty years; Nell has been taught that men and daylight are harmful, and her language is the product of imitation after her mother's stroke.

The sentiment here is laid on thick. Nell is harrassed by those stereotypical movie rejects, scientists and red necks. The scientists want her brought in for study; the red necks want to play a little doctor (Can you say Deliverance?) There are a number of nice scenes portraying the bonding between the three leads, and the direction by the talented Michael Apted is sensitive and well-intentioned, but Nell suffers by asking us to shed too many unearned tears. In this regard, most damaging is the lack of key exposition. We never really get to know Nell. Her mystery, while at first quite interesting, loses its novelty by the time they take the wide-eyed country girl to the big bad city.

The biggest roadblock has to be Jodie Foster. Her pagan-like emoting as she dances naked through the woods is two stations short of hamville. It's like she wants us to believe so desperately in Nell's tragic story that she has to use a few neon signs to show us the way. Thanks, but I think we can handle it ourselves. Neeson is more effective, and he and real-life wife Richardson do a nice job of counterbalancing Foster's excess in the role of Nell's surrogate ma and pa.

Painfully cliche; unintentionally hilarious
Nell is a clunky drama about two psychologists (Liam Neeson and Natasha Richardson) who study and befriend a young woman Nell (Jodie Foster) at her lakeside log cabin. A product of potentially disturbing family circumstance that this film promptly glosses over, Nell speaks her own language and was raised basically without civilization. Of course, Nell proves to everyone in a bombastic climactic courtroom scene that she is in fact more civilized than so-called modern society. She frankly states in 'nellish' that modern men and women don't look each other in the eye, avoid genuine communication, and possibly every other unoriginal complaint about contemporary society. Yet, it all seems a bit absurd since Nell is clearly an ideal product of such a society- she's compliant, fun-loving, clean with Aryan good-looks, and can even play matchmaker! When she hooks up her doctors, the movie officially becomes about Neeson and Richardson gettin-it-awwwn and loses any facade of insight into the human condition. Whatever it had was facile to say the least though as it ignores the scary, violent, sexual, and basically id-centric depths of human nature. Time and time again, Nell comes across like a domesticated pet- one that desperately needs to be put down.

This is a great movie for women, men and parents!
This is a wonderful, wonderful movie. And it is a great test of a relationship. Women, if your boyfriend or fiance is unwilling to watch this movie, or is not moved by it, dump him immediately and save yourself years and years of pain. If you are already married, get marriage counseling.

Guys, this is a great movie. Even if you prefer action movies to chick flicks, the woman you are with will be totally moved by the movie and that you watched it with her.

Parents, this is also a great movie for teenagers. Nell, played by Jodie Foster, has had no contact with anyone other than her now dead mother, so she has no sense of shame about her body. She is as free as a three year old in taking off her clothes to go swimming at night. Therefore, while there is nudity, there is no sexuality. And the nudity is not exploitive. (This is like the nudity you used to find on the pages of old National Geographics on articles about Africa.) On the balance, the sensitivity outweighs concerns about nudity, this may even be a way to spark conversation with your kids about puberty, etc.

intellectual viewers please
If you are one who only likes movies that are geared to viewers with a 13 minute attention span or if you don't like to think at all, please don't watch this movie.
But if not....this movie is a great! I love movies that show people who haven't experienced normal life because it allows us to take a deeper look at things and appreciate things that we overlook. Like standing in the breeze, or the colors of fruits.
Jodie Foster played this part perfectly.

Different And Great
Jodie Foster, Liam Neeson, and Natasha Richardson star in the drama "Nell". The screenplay was wonderfully written. They take the audience into another world, which may seem unusual to many. Exploring a language and a lifestyle lived by only one person, everything stays heartfelt. That touch is never lost for a single second. Such feelings intensify as the courts try to take this life away from Nell. Everything said and done keeps the audience watching closely. Jodie Foster, who also produced, was rightfully nominated for an Oscar for Best Actress for her role as Nell. Every drop of energy poured onto the character. This gives the movie the added emotion. Liam Neeson and Natasha Richardson wonderfully play their roles as doctors protecting Nell from the hospital and the press. Their roles intensify greatly as Nell begins changing their lives forever. The great creativity of "Nell" makes this experience unforgettable. This is great viewing for all audiences. ... Read more

Reviews (54)

A facinating, literate film!
While most movies that are released during the summer lack sophistication, great acting, and a plot, this film has them all: in spades. Endlessly interesting and complimented by John Barry's haunting score, "Enigma" delivers one cinematic pleasure after another.

The story, set in WWII, and based on real events, centers on Tom Jehrico (Dougray Scott), a brilliant codebreaker at Blenchly Park, who cracked the Nazi Enigma code. But now that code has been changed, and supplies that the British need for the war are in jeopardy. Not to mention the lives of the crews on those ships. Complicating matters is the disappearance of his ex-lover,Claire (Saffron Burrows), which has cast the shadow of suspicion over Tom as the possible traitor. Teaming with Claire's doudy roommate Hester (Kate Winslet), the two race to crack the code and unmask the traitor before hundreds of lives are lost. All the while, the mysterious Wigram (Jeremy Northam) seems to always be following them. . .

My summary of the plot simply doesn't do it justice. This film must be seen to be truly appreciated. Scott is great as the haggard, brilliant mathematician whose heart has been been broken, and Winslet is wonderful as the witty and underappreciated Hester. But the real standout is Jeremy Northam who steals every scene he is in, as the very dapper, and very suspicious Wigram.

The dialogue in the film crackles thanks to a great screenplay by Tom Stoppard which was based on the bestselling novel by Robert Harris. Do yourself a favor and check out this example of smart adult cinema.

A facinating, literate film!
While most movies that are released during the summer lack sophistication, great acting, and a plot, this film has them all: in spades. Endlessly interesting and complimented by John Barry's haunting score, "Enigma" delivers one cinematic pleasure after another.

The story, set in WWII, and based on real events, centers on Tom Jehrico (Dougray Scott), a brilliant codebreaker at Blenchly Park, who cracked the Nazi Enigma code. But now that code has been changed, and supplies that the British need for the war are in jeopardy. Not to mention the lives of the crews on those ships. Complicating matters is the disappearance of his ex-lover,Claire (Saffron Burrows), which has cast the shadow of suspicion over Tom as the possible traitor. Teaming with Claire's doudy roommate Hester (Kate Winslet), the two race to crack the code and unmask the traitor before hundreds of lives are lost. All the while, the mysterious Wigram (Jeremy Northam) seems to always be following them. . .

My summary of the plot simply doesn't do it justice. This film must be seen to be truly appreciated. Scott is great as the haggard, brilliant mathematician whose heart has been been broken, and Winslet is wonderful as the witty and underappreciated Hester. But the real standout is Jeremy Northam who steals every scene he is in, as the very dapper, and very suspicious Wigram.

The dialogue in the film crackles thanks to a great screenplay by Tom Stoppard which was based on the bestselling novel by Robert Harris. Do yourself a favor and check out this example of smart adult cinema.

Interesting fictionalization of the Bletchley Park story
This is a story loosely, very loosely, based on British intelligence's efforts to crack the Nazi encryption codes used during World War II. The screenplay was adapted from the novel by Robert Harris by playwright Tom Stoppard whose cinematic credits include Brazil (1985) and Shakespeare in Love (1998). Dougray Scott stars as Tom Jericho who is decidedly not Alan Turing, the troubled genius who spearheaded the amazingly successful effort that allowed the Allies to know in advance what the Nazis were up to. The true story is one of the most fascinating to come out of WWII.

This fictionalization is also a very good story. Michael Apted's direction gives us a nice feel for the era and for the type of people involved, intellectual and somewhat nerdish, creative people who were as valuable to the war effort, or even more so, than the soldiers in the field. Dougray Scott does a nice job of depicting a mathematician who has gone a little crazy because of an abortive love affair with a beautiful intelligence clerk, Claire Romilly (Saffron Burrows). He is sent away after cracking the Nazi code, but when the Nazis institute a new code he is returned from the nut house and pressed back into service. Still haunted by the memory of Claire, it is not clear that he is of any use. When he discovers that Claire is missing, the subplot begins with Jericho and Hester Wallace (Kate Winslet), once Claire's roommate, sleuthing through top secret intelligence files looking for clues to determine what happened to Claire and whether she was a spy or not. What they discover along the way of course is each other. Watching them is Wigram, a rakish secret service agent with a heart of pure darkness, played with mystery and an arrogant ruthlessness by Jeremy Northam.

Billed as a thinking man's thriller, it is that. However, the plot suffers from two main problems: Claire can only be seen in flashback (I would like to have seen more of the woman who said, "Poor you. I really got under your skin, didn't I?"), and the action of the film must take place within a few days time, which means that Jericho must simultaneously crack the new code, find out what happened to Claire, and romance Hester. I don't think Apted's direction successfully solved these problems. His concentration on a realistic "feel" to the movie merely masked them.

Nonetheless, one can appreciate the action and remain fully immersed even while not following all of the plot's intricacies. The juxtaposition of the tall, blonde player of men in the person of the beautiful Saffron Burrows with the short, full-figured, Nancy Drew-like Hester in the person of the beautiful and gifted Kate Winslet was a stroke of casting genius. They are fascinating to watch. The contrast between the sensitive and vulnerable Jericho and the worldly and immoral Wigram provided an interesting balance. All four of the leads were excellent.

But see this for Tom Stoppard, who might be called "a thinking man's" screenwriter. His gift for writing witty and authentic dialogue based on research and a finely trained ear is part of what makes this an interesting film well worth seeing.

A modern classic.
Man, Dougray Scott looks sexy and intense in this movie! I loved him and the beautiful, swan necked, glamorous blonde Saffron Burrows. She's like a walking dream in all that war and gloom. The movie is fair to her character, and that's something you don't see every day. Those in the picture who look down on her are viewed with comtempt, as they should be.

I like the spy game and I think all the twists and turns are all very unexpected and keep you on your toes.

I do think, though, that they didn't have to turn Kate Winslet into the opposite of beauty just to prove that she can or to make the blonde venus more striking. Dressing her up like that distracts the viewer from the movie, by begging us to focus on how well she's pretending to be ugly - which may have been the very vain motive indeed behind that decision. You know, Kate not wanting to be seen as just a sexy actress and all that. No one denies her talent. One can be unglamorous without being horrid and in this case it just attracts the wrong kind of attention.
Absolutely worth watching.

Good intentions gone awry
During WWII, a motley crew of men were recruited in Great Britain to intercept and translate the Nazi Enigma code. Scott plays Tom Jericho, one of the decoders who falls hard for an over-lipsticked Burrows and breaks down when she rejects him. Having returned to his decoding job after a mental-health hiatus, Jericho has only four days to translate a new Enigma code, thus saving a fleet of Allied convoy ships and presumably winning the war. Winslet dons a pair of Harry Potter specs to play plain-Jane Hester Wallace, who helps Jericho decode the new Enigma.

That the Enigma decoders came from all walks of life is reiterated throughout the movie. In fact, Enigma devotes much of its time to telling instead of showing; Scott had to memorize what must have been pages of script in order to narrate the development of Enigma and its decoding process. Northam, squinting his way through his role as a classist, sexist Intelligence dandy, also snidely lectures on the democratic demographics of the decoding staff. Similarly, Winslet frequently reminds us how women got the short shrift for their work in the war effort-a message with good intentions, but delivered rather obviously. This word-heavy tendency is accompanied by conventional plot devices and a series of twists and turns that require still further explanation from the characters.

Interestingly, the one subtle message in Enigma deserves more attention; specifically, the Faustian repercussions of the Allies' collaboration with Joseph Stalin. That the British kept these repercussions hushed up for fear of the Americans' reaction speaks volumes about who, ultimately, was calling the shots during the war. ... Read more

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Sigourney Weaver more than earned her Oscar nomination for Best Actressin Gorillas in the Mist, dominating every frame of Michael Apted's biopic about primatologist Dian Fossey. Tenderly mothering an orphaned gorilla infant or terrorizing an African poacher with a staged lynching, the statuesque star is never less than fiercely focused, a glamorous warrior for animal rights. As the amateur scientist who researched and spotlighted Rwanda's endangered mountain gorillas in National Geographic, Weaver is the passionate heart that keeps an otherwise flaccid film alive--whether bracing anthropologist Louis Leakey to forcibly offer her services as census-taker of the mountain gorillas; or hanging out with the noble animals until she becomes the first person on record to make friendly physical contact with them; or waging sometimes-physical war on natives and Europeans who decimate the gorillas for trophies or zoo fodder. Unfortunately, the film's stodgy script and direction simply document Fossey's magnificent obsession, offering no insight into what lonely impulse of the soul led this extraordinary woman to climb up an African mountain to bond so strongly with gorillas. Cardboard characters include an eternally smiling, sexless African soulmate (John Omirah Miluwi), a perfect boyfriend (Bryan Brown) who has to be dumped in favor of gorilla-love, and stereotypical villains. Still, the African scenery is spectacular, and who can resist the cross-species thrill when the huge dark hand of Digit, Fossey's favorite, first rests in her outstretched palm? Gorillas in the Mist will please those who savor Sigourney Weaver's Amazonian fervor and the pure fire of her physical and spiritual passion--and harbor a slightly misanthropic fondness for liaisons between beauties and beasts. --Kathleen Murphy ... Read more

Reviews (12)

Sigourney Scores
Exciting true-life story of Dian Fossey, the American woman who fought to save the mountain gorillas of central Africa from extinction. The film makers faced considerable obstacles in reaching the remote area of Rwanda where Fossey worked and was originally planned to be made prior to Fossey's murder in 1985, but the film--directed by Michael Apted--is nonetheless so fluidly told that most of these limitations don't show on screen. Although the excellent on-location photography is essential to Gorillas' success, the film's greatest asset is Sigourney Weaver's bigger-than-life presence as Fossey. Weaver's tremendous physique--used so effectively in making her a match for the creatures of Alien series--allows her to hold her ground with the huge gorillas. Always a charismatic on film, Weaver meets the heroic demands of the film, whether confronting poachers, communicating with gorillas, mourning their loss, or even--in the least interesting aspect of the film--falling in love with Bryan Brown as the National Geographic photographer Bob Campbell. Probably no other American actress in the 1980s could have risen to this challenge as she did. The all-too seldom seen Julie Harris also has a small part as a Rwandan plantation owner and adds her own luminosity to her few scenes. Rick Baker ingeniously handled the film's make-up, mixing both made-up and real gorillas. As suggested above, the film does have a few drawbacks: much like the relationship between Meryl Streep and Robert Redford in 1985's Out of Africa, the romance between Weaver and Brown feels tacked on, and it is less interesting than her relationship to the gorillas. Also, Weaver's descent into seeming madness (which Weaver's unexplained coughing in the last section of the film suggests may have been prompted by her declining health) occurs suddenly in the sequence immediately following the end of her romance with Brown. I wonder how Weaver's character

might have been developed at the end of the film had not Fossey's murder occurred while the film was still being planned: would the end of her romance with Brown have been the end of the film, with a conclusion emphasizing the courage of her decision? And, if so, is that why the final mad sequence occurs so suddenly?

Tragedy Turning To Triumph
"Gorillas In the Mist" is one of the Top 10 films released in 1988. It explores Dian Fossey's life in Africa during her struggle to save the gorilla population, whom were close to extinction. The producers and the writers wonderfully desplict the emotional value of the times: determination, leadership, loneliness, love, friendship, and many more. The movie events are accurate to the actual events. Their research on the gorillas and Dian Fossey proves well thorough. Sigourney Weaver plays Fossey beautifully in her well-deserved Golden Globe winning and Oscar nominated role(Best Actress). Her every drop of heart and soul is poured into the character in every scene. No other actress could perform this role at this level. All other actors also performed their roles wonderfully. "Gorillas In the Mist" is a triumphant movie perfect for all audiences. This film will be a classic in a few years.

Gorillas in the Mist
Anyone passionate about wildlife will identify with this story and with Dian! Anyone who is not, will be transformed.

Gorillas in the Mist
This is the real life story of Dian Fossey, a woman with passion and conviction who dared to live her dreams. Weaver does an exceptional job of bringing the character to life and is very convincing as the gorilla-loving mountain lady. It is wonderful to watch the transition of the character from the beginning of the movie and see how she develops into the obsessed anger-driven person at the end. Right or wrong in her efforts to save the gorillas, this movie is truly an inspiration for anyone with courage and passion.

gorillas in the mist
just wonderful, can't leave the screen, would watch it more then once or twice ... Read more

Reviews (13)

very good movie
I've read the book and although it, of course, was much better, I enjoyed the movie. I regret that the movie leaves out a large section at the end of the book that I particularly liked. Additionally, the movie misrepresents my favorite character, namely KGB Major Pribluda. On the flip side, William Hurt is very good as Arkady. Lee Marvin well portrays the slimy sable-selling American Jack Osbourne, and Brian Dennerhy does well as a rogue New York City cop who doesn't give a damn about getting killed or killing people, as long as he can avenge his brother. I really enjoyed this film. Oh- the DVD especially is good, because in the movie it is difficult to make out what is happening in some of the darker scenes.

Murderer and Detective fight the coldest of wars
"Gorky Park" is based on the novel of the same name by Martin Cruz Smith. It's a flawed attempt, but otherwise excellent film. William Hurt plays the hero, Arkady "Arkasha" Renko, a righteous detective with the Moscow Militia, the Soviet capitol's local police force. His latest case involves three mutilated corpses discovered under a blanket of fresh snow in the woods of Gorky Park. Renko is barely on the scene when he's joined by KGB Col. Pribluda. "That could be you one day", the smiling killer tells Renko. With little doubt that the case "reeks of KGB" involvement, Renko at first seeks a way to dump the case, thinking it a trap laid against him by the KGB as revenge for Renko's earlier attempts to implicate the grinning KGB colonel in a multiple homicide. A dogged persistance won't let him drop the case, and he pursues leads that have nothing to do with the KGB - including a one-time student dissident (Joanna Pacula) whose name is scratched into the skates worn by one of the corpses, and Jack Osborne (Lee Marvin), a wealthy American tycoon with an interest in genuine Russian Sables. Soon, however, Renko finds himself the prey, when a mysterious American, who turns out to be a NYPD Detective (Brian Dennehy), arrives on the scene, convinced that his younger brother may be one of the victims and Renko one of his executioners. Unclear who he has to fear, especially when his men and his witnesses begin dying, and unsure who to trust, Renko goes practically underground, the American Detective his only real ally.

Flawed by a script that ambitiously tries to comprise all of Smith's multi-layered plot, "Park" makes a great go of it. With the help of the late and great Dennis Potter ("the Singing Detective", "Pennies from Heaven"), Michael Apted's superb cast goes a long way to realizing author Smith's vision. There is the amiably amoral Pribluda and Dennehy as the brutish Detective Kerwill. Joanna Paculla will break your heart while Lee Marvin is cheery as the rich American who smoothly reaffirms the Soviets' faith in the evil that is the United States. Hurt's duel of wits with Marvin (Renko wastes little time making the rich American a prime suspect) provides the most tension of the film. Renko tries to elicit Osbourne's response by comparing the murder of the faceless trio with the American's favorite hobby - a hunt for Sable. Their exchanges are key because they highlight Osbourne's amorality and his mastery over Renko and the systemic rot of the Soviet hierarchy. Even minor charachters like Alexi Sayle as Fedor Golodk