Reviews (90)

Months of checking have finally paid off!
... This is one of those movies that you have to appreciate for it's simplicity and sometimes almost cheesy scenarios. I can't imagine anyone playing these characters other than the people cast. Robin Williams performance as Popeye is reminiscent of the really old B&W Popeye cartoons where half of the time he's mumbling which adds to the comedy. Even the costumes in this movie are semi-cartoonish which cleverly adds to the cartoon-to-live-action transition while reminding us that the silliness is part of the reason we loved the cartoons and characters as much as we did, and still do.
Bravo to Paramount for finally releasing this on DVD for the people like me who have been searching for this classic since I bought my DVD player. I've been checking on a weekly to monthly basis for a long time now, and am estatic to see my searching has paid off.
If you haven't seen this fantastic movie before, or haven't seen it in years, take the time to rent it one more time so you can see what you'd be gaining by ordering or pre-ordering this today!!

Soundtrack by Harry Nilsson
Wonderful movie. It's got a fantastical depiction of Sweethaven with its eccentric characters, and a wonderful ensemble cast. Robin Williams gives a very credible portrayal of Fleischman era style Popeye. He's also incredibly sweet, but not the kind of cloyingly ingratiating sweet Williams is known for in later films.

The best part of this movie are the marvelous songs written by Harry Nilsson. I loved the music from Popeye when I was a kid, and as an adult who has recently re-discovered Harry's music, I'm pleased to see this out on VHS again so I could get a hold of the music in *some* form. If you liked Nilsson's "The Point", then treat yourself to this movie, and if you liked Popeye's music, check out "The Point", they're both absolutely smashing.

"Somebody owes me an apology!"
The "Somebody owes me an apology!!" line by Olive's Dad was the funniest running gag in the movie but then they dropped it about halfway through. Big mistake. Great sets and characterizations hampered by misguided plot and inappropriate musical numbers. Great until about halfway through then it falls apart. Definately woth a watch for the Robin Williams Popeye characterization and the great sets. If you like the look and style of flicks like Warren Beatty's Dick Tracy, give it a rent!!

Great movie
I think Popeye was a great movie, personally. I really enjoyed the songs, sets, costumes, and Robin Williams is perfect as Popeye. I can't wait to own this on DVD, where it can be seen in its original widescreen format with beautifully restored picture and sound.

And a note to vhspreowner - Disney and Paramount have actually had a pretty good relationship, even after Popeye went bust, (Which actually wasn't as bad as many think - it grossed $50 million domestically, making a $30 million profit.) including Paramount's recent collaboration with Disney (through Miramax) to produce The Hours.

The Legend of Popeye: Milestones and More...
In 2004, Popeye will be celebrating his 75th birthday! The anvil armed spinach eater is an icon to Americans (as well as Europeans) everywhere. And if you are like me, an American of European ancestry...

"Popeye the Sailor" was created by E.C. Segar as a character in the black & white (later color), Fleischer Brothers newspaper strip "Thimble Theatre" (which was a comic about The Oyl Family). He later made his debut with his own cartoon short, seen on movie screens everywhere in 1933.

Walt Disney Pictures teamed with Paramount Pictures to create the 1980 live action movie directed by Robert Altman, bringing the comic character turned cartoon star into a living breathing human. The parts of Popeye and Olive Oyl were originally going to be played by Dustin Hoffman and Lilly Tomlin but ultimately went to Robin Williams and Shelley Duvall in perfect casting roles. The entire gang was aboard for the ride (Bluto, Wimpy, Swee' Pea, and all the rest along with plenty of new friends and foes).

Despite Popeye being a Segar/Fleischer creation as well as having later associations with A.A.P. (Associated Artists Productions), Hanna Barbera, Disney & Paramount, Popeye is best known as being a "King Features Syndicate" and will forever be linked to all animators and produces as being King's trademark. In fact, because the exact rights for Popeye were so confusing, he was mysteriously missing from the 1989 cartoon/live action movie "Who Framed Roger Rabbit?" as the most notably absent cartoon. Due to fear of being sued, Touchstone Pictures sadly left Popeye out of the film, while every other one of his contemporaries from Mickey Mouse to Bugs Bunny appeared in the famous "Toon Town" scenes. Today, Popeye is alive and well with the King Features clan. Sammy Lerner wrote the famous theme song that has been a staple wherever Popeye has appeared.

Although maybe not quite on the scale of "Pinocchio," Popeye is very popular in Italy where he is nicknamed "Iron Arm." Bill Costello provided the original voice in the cartoon and later in the 1970s, Hanna Barbera is best credited with bringing Popeye back to life in several new shows including an updated version called "Popeye & Son," where Popeye & Olive are married with their own kid (not Swee' Pea).

Perhaps his popularity in Italy and throughout Europe can be linked not so much for Costello's and Barbera's contributions, but to the filming of the movie in Anchor Bay (near the capital Valletta) in Malta, a small island in the Mediterranean, just 60 miles south of Sicily. After filming, it became a hugely popular tourist attraction, and even today movies are filmed there through MFF-Malta Films Facilities ("Troy" starring Brad Pitt just wrapped filming in Malta, Greece, Spain and Italy, and Pitt no doubt will be an even huger figure in Europe now).

Many of the "citizens" of the created town of Sweethaven, especially those who had to do some physical gags, were recruited from European traveling circuses. Most of the cast and crew (about 60% if you read the credits carefully) had Italian surnames! The following is a list of those credits: Richard Libertini (played "Geezil"), Larry Pisoni (played "Chico"), Peggy Pisoni (played "Pickelina"), Carlo Pellegrini (played "Swifty"), Noel Parenti (played "Slick"), Pietro Torrisi (played "Bolo"), Roberto Dell 'Aqua (played "Chimneysweep"), Valerie Velardi (played "Cindy"), Roberto Messina (played "Gozo" and was head stunt coordinator), Sammy Gemette (sound editor), Giovanni Fiore (camera operator), GianFranco Transunto (camera operator), Luigi Bernardini (camera operator), Mauro Merchetti (camera operator), Gian Maria Magorana (camera operator), Lorenzo Battaglia (underwater camera operator), Rudolfo Bramucci (gaffer), Vladimiro Salvatore (key grip), Alberto Emidi (key grip), Tony Maccario (property manager), Alvaro Belsole (construction manager), GianCarlo Del Brocco (makeup), Alfredo Tiberi (makeup), Gilberto Provenghi (makeup), Alvaro Rossi (makeup), Maria Teresa Corridoni (hairdresser), Aldo Signoretti (hairdresser), Gabriella Borzelli (hairdresser), Rita Innocenzi (hairdresser), Rita Galea (publicity), Paulo Lucidi (unit manager), Luciano Tartaglia (accountant), Gaetano Mirante (carpenter), Gugliemo Modestini (painter), Angelo Marta (sculpter), Angelo Zaccaria (sculpter), and last but not least, Mickey Chono (head caterer). Alitalia Airlines was the air transportation company of choice for all involved in the film.

So as you can see, Popeye can quite possibly be considered a foreign film (although it is in English) and the fact that it's popular from the US to Europe-to everywhere in between-is no surprise. It's amazing how many Italians were involved in the creation of the characters as well as the sets. Like Italy, Malta's official religion is Catholic and it's official languages are Maltese (which is a West Arabic dialect with some Italian words) and English. The country has Maltese and English newspapers and is a huge tourist spot for those visiting nearby Sicily and even stands wonderful on it's own. In fact, tourism is the main business in the country's economy and the mild yearlong weather and beautiful seaside villages (as seen in Popeye) are no doubt it's selling points. Just watching the movie makes me want to travel there someday and the beautiful cinematography bring the sailor to life as well as any of the animators who have tried their hand at drawing the famous sailorman.

Popeye has his own video game, his own stamp, a clothing line (and Halloween costume), not to mention his own real brand of canned spinach, the #2 seller in supermarkets everywhere just behind Del Monte. In fact, he is so famous that he has his own statue in Chester, Illinois-which is the birthplace of E.C. Segar. Today, Popeye can be seen on Cartoon Network and read in papers nationwide as well as on the internet. This year marks the 110th birthday of E.C. Segar as well as the 75th birthday of Popeye, and next year, Popeye the Movie will celebrate it's 25th anniversary with a new DVD.

Please send me all of your Popeye questions or comments and to join the Johnny DeCarlo Popeye Fan Club, e-mail me: JohnnyItalian@aol.com ... Read more

Description

Divimax is a High Definition (HD) film transfer process that provides state-of-the-art picture quality--and can be viewed on any home entertainment system. ... Read more

Reviews (633)

The Night He Came Home and Changed the Face Of Horror
In 1978, the world was introduced to a movie that has become a cornerstone in the horror genre. Independent filmmakers John Carpenter and Debra Hill, largely unknown at the time, shot a movie that would become one of the top money-making horror films of all time on a budget of just over $300,000.00. They hired a cast of unknowns, drawing on talent that would become some of the top names in Hollywood. They set out to make a simple film, about a group of teenagers being stalked by a serial killer, and what was born was a movie that has challenged all other films of its genre-Halloween.

Set in the small town of Haddenfield, Illinois, it is the story of Michael Myers, a boy who murders his sister on Halloween night in 1963. Incarserated within the confines of the mental institution Smiths Grove, he is treated by Dr. Loomis (played by Donald Pleasance) until he can stand trial as an adult for the criminal activities of that fateful night.

Fifteen years pass, and Myers is now grown. Loomis is assigned the duty of transporting Myers back to Haddenfield for his criminal hearing. On the eve of halloween, and badgered by a horrendous thunderstorm, Loomis travels the final distance to the gates of the institution with the aid of a nurse who has been assigned to him. Upon their arrival, they discover that the inmates have been set free to wonder about the confines of the sanitarium. Loomis, who has long since grown to believe that Michael Myers in the embodiment of pure evil, rushes to the gaurd post at the front gate. In his absence, Myers overtakes the nurse and steals the car.

Loomis cries out "He's gone..the evil has gone..."

And so begins Halloween.

The balance of the story takes place in Haddonfield, where a group of unsuspecting teens will have a fatal encounter with Michael Myers. Leading the cast is Jamie Lee Curtis, daughter of veteran actress Janet Leigh (of "Psycho" fame), who plays Laurie Strode, a high-school student who begins seeing "The Shape", a non-descript man dressed in a blue coverall, wearing a white mask. She sees him again and again, through the classroom window at school, in her backyard, behind bushes.

For the majority of horror fans who have seen this film, I need go no further. For those of you who haven't, I should go no further, for the film is definitely more than the narrative I began above. It is a story that touches on the psychological truths that our society seems to function on. Whats more, it is a film that touches at our primal fears.

Unlike so many films in this genre, Halloween is genuinely frightening, not because of its use of graphic gore, or visually stunning effects (there really aren't any in this film) but because it plays on the things that scare us most. Whats more, Carpenter uses carefully placed light and shadow to really enhance the experience of his film. His soundtrack also underscores the film as a whole, bringing it to a level and intensity that keep viewers on the edge of their seats.

Carpenter went on to film two additional films in the franchise, the much more commercial Halloween II and Halloween III:Season of the Witch (the third installment having nothing to do with the Myer storyline). The Halloween franchise itself has given birth to a total of seven sequels, including the largely popular Halloween H20, in which Jamie Lee Curtis reprised the role of Laurie Strode. Still, it is this original film, a small budget, independent movie that was shot in the early spring (yes, leaves were brought in and scattered about to simulate the fall season) that has become a staple that is synonymous with the holiday which the movie was named after.

If you have reservations about this film, set them aside and watch it...but watch it with the lights on, because Michael Myers might be there, in the shadows, waiting. Halloween-the Night He Came Home-is worth the time and money. It is the film that really re-defined the horror/slasher genre, and it is the one film that really rises above the rest, setting a standard that no film that followed has ever matched.

Brilliant piece of suspense
"Halloween" is by far the best horror film I have ever seen and is also my personal favorite. The story is so simple: 6 year-old Michael Myers stabs his sister to death on October 31, 1963 in Haddonfield. He is locked up but 15 years later, he escapes and returns to his hometown, where he sets his sights on Laurie Strode (Jamie Lee Curtis) and her friends, Annie (Nancy Loomis) and Lynda (P.J. Soles). His psychiatrist, Dr. Sam Loomis (Donald Pleasence), is hot on Myers' trail before he kills again. This movie is so scary and suspensful, easily the best of the bunch. For Jamie Lee Curtis' first movie, she did an excellent job of acting. Veteran actor Donald Pleasence is also terrific, he is performance is convincing, you actually KNOW that Michael Myers is pure evil when he talks about him. What adds to the suspense and horror of the film is that Michael is hardly seen, he is always in the shadows, waiting to kill. The music is also fantastic. The main piano theme is one of the most famous to ever grace the screen. All in all, this is a terrific film, watch this with the lights off and guarantee you'll be scared!

What Else Can I Say About A True Classic
Halloween was the very first horror movie I saw as a kid, at age 4.Ever since then, no Halloween or anytime of the year is complete for me without Dr.Loomis, Laurie Strode, Sheriff Brackett, and of course the man himself, Michael Myers. This movie epitomizes everything that Halloween is..the bogeyman laying in the dark shadow of the room , waiting for the perfect moment to strike..It's got everything..From the typical American small town, horror movies in the city just don't work..The great horror flicks of all time:Halloween, Friday the 13th, Nightmare on Elm Street, Texas Chainsaw Massacre, Amityville Horror, Last House on the Left, The Town That Dreaded Sundown, and Scream, they all took place in small towns or in the middles of nowhere..
Plus Halloween films for me have always somehow managed to get the intangible down:Atmosphere.They nail the Halloween , late fall atmsophere perfectly..I loved the whole bunch of them..I'm a sucker for horror though. I also love all the Friday the 13ths, Texas Chainsaws, Screams, and Nightmares.

The one that started it all!
Halloween is definitely the film that inspired the first wave of horror movies. It clearly inspired Friday The 13th and A Nightmare On Elm Street.

When Michael Myers brutally murdered his sister Judith he was sent to a children's hospital for a life sentence. But after serving 15 years he escaped and travelled to the small town of Haddonfield where he stalks 3 young women Laurie, Annie and Lynda. It also happens to be Halloween night when he comes out of the shadows and definitely gives them a scare to remember!

Everything about Halloween is 1st class entertainment! John Carpenter doesn't rely on lots of gore to make this movie a classic. He relies on suspense which works like a charm! The music score is also terrifying and the now famous Halloween tune will haunt me forever after watching this film!

It's really fun to see a young Jamie Lee Curtis running around scared because in this day and age you don't think of her being able to play the virginal heroine! Clearly it was down to her that the stereotype was even created in the first place!!!

With excellent supportive performances from Donald Pleasence, Nancy Loomis and PJ Soles this film will always live on!

Halloween
This is the best horror movie ever in my opinion because it was the first to ever really scare me. ... Read more

Reviews (101)

A Heartbreaking and Powerful Testament to the Human Spirit
"The Joy Luck Club" is a ground-breaking film with universal themes that anyone can relate to regardless of age, gender or nationality. Truly epic in its scope and haunting vision, the movie is also deeply heartfelt and familial, enhancing its ability to speak to the audience in myriad, boundless ways. This is an intimate portrait of two generations of Asian women - the mothers who risked everything to create a better life for their daughters in the United States. At this juncture in American history, the movie resonates more than ever by reminding the viewer of our fore-mother's immigrant experience. In doing so, "The Joy Luck Club" serves as a vibrant contemporary document on freedom and the pursuit of happiness.

Ming-Na Wen (now known to millions as Ming-Na or Deb Chen on NBC's top rated drama "ER") is superb in the central role of June, greiving for her recently deceased mother with the 3 "aunties" who miantain her place at the mah-jon table. Their gatherings continue, with June's presence, and in the process form the backdrop from which these women's personal stories and life-journies are shared. Each auntie - and their now-adult Americanized daughters - explain their often-harrowing attempt to escape Communist China and their difficult transition to an American way of life in the U.S. Tears flow in both generations, not only for what has been lost, but also for what has been found here - a society with different values that challenges these women in unexpected but nearly universal ways. As both generations - and all eight women eventually - share their stories, the viewer literaly steps into each life, aware of where the characters end up, yet fully experiencing the challenges each of them faces. Set against the backdrop of June's trip to China to find her long-lost sisters (whom her mother was forced to leave behind in one of the film's most powerful sub-plots) "The JOy Luck Club" can be ANY family's story, regardless of how long they or their ancestors have lived in this country. In doing so, it succeeds at building bridges to the past, while staunchly looking ahead to the future. This is the sort of film that embraces real life and human themes, but also puts a face on what it means to be a zero-generation immigrant, or an exile in a land far from one's home and culture. Like the current spate of Latin and Soviet block immigrants and the last century's explosion of new Americans from Europe and Africa, we recognize through the characters the meaning and value of freedom, family and peace as well as the unimaginable challenges our elders faced in coming to this land of opportunity.

The cast of Asian-American actresses is uniformly superb, straddling a delicate balance for the viewer that requires they be both accessible AND remote at once. Although long seen as a "woman's movie" the film deserves to be widely experienced by all people, including men, who might otherwise reject the film as nothing more than handkerchief fluff. In fact, since few similar films exist with central male characters, "The Joy Luck Club" stands as a film I believe many men would embrace if they give it a chance. The film speaks for our fathers and brothers, not just our sisters, mothers or wives. This is grand, epic storytelling with a heart, beautifully directed by Wayne Wang and amazingly accessible in every way, due to its stellar cast. Had there been a Best Ensemble Oscar designed to honor the contribution of a group of actors at the top of their form, "The Joy Luck Club" cast would have surely been honored.

A magnificent film that fully captures what it means to be an American of any descent.

One of the great overlooked gems! Deserves a DVD release!
This and the Ang Lee film "Eat Drink Man Woman" were both released at about the same time. And I think they may have cancelled out each other. Both are great but like any wonderful film, if another equally great film with a similar theme is released at the same time it can cause an overload. People won't go see either.

So why should you see the Joy Luck Club? Because the acting is wonderful. Really top notch. If the current affection for having asian women in films lasts then maybe we could see more of these fine actresses. Too bad that so many wonderful actors can get typecast because of race but there is hope. I'd absolutely love some more films like this.

Wayne Wang's direction is great. This story goes from funny to sad to touching without being cliche. This movie might be marketed more toward women, and it does hit on great female relationships, but it's not to sappy the boyfriend will cry from boredom.

This is not only about being Chinese
Plenty of people have pointed out the movie's good points but beyond the mother - daughter theme that is so wonderfully dealt with, this movie is also about the immigrant experience. In this world today, so many people immigrate and must contend with the difficult process of watching their children grow up in another culture - wonderful, different, distant, restive - and they have to figure out how to connect with their children. "Joy Luck Club" portrays this poignantly. How many children of refugees really have any idea what their parents went through? Many people from a variety of cultures will appreciate the film for that reason alone.
As for those who say Tan is "male-bashing", keep in mind the very loving character of June's father. Also, if you've read Tan's other books, (The Kitchen God's Wife, for example), there are both good and bad men with great depth of character.
Let's remember, too, that history is not exactly littered with the stories of women, and Tan is just trying to rectify that imbalance. Having lived in Asia for 8 years, I'd say that male privilege is still alive and well...and in support of Tan's story, the (lack of) legal rights of women alone in pre-war China should illustrate the possiblity that four women might have had such experiences.

A great movie from a story by a wonderful writer

Having spent a year in China (1948), I admit to a soft spot for the Chinese people and their stories, and especially for Amy Tan, whose books I have read and loved. This superlative movie was based on her book of the same name.

In this story (the script was written by Tan and Ronald Bass) the tension between four Chinese women, who were born in China and later came to the United States, and their Americanized daughters, is the foundation of the story, and is the theme that epitomizes Amy Tan's stories. She has noted in an interview that such tension existed in her own life between her and her own mother.

Much of the tension is due to the cultural clash. Times in China were hard a few short decades ago, and life was harsh. Starvation and disease was rife even in later years, when I was there in the late 'forties. When Americans today refer to poverty or hunger in this country, they have no conception of the real poverty and hunger that existed in China in the 'thirties and 'forties, or customs like the very painful historical binding of women's feet, which in effect crippled them for life, in the name of beauty, or the custom of wealthy Chinese men often having multiple wives and concubines, or the total degradation of women which existed and was totally accepted throughout the culture. Not to mention the impact of continuing warfare between warlords, the nationalists (Kuomintang) and communists, and the Japanese occupation all of which lasted for generations.

This is an emotion evoking story. It is more than simply entertainment; it is a story with which you will identify, with characters with which you will empathize.

Amy Tan knows whereof she writes, and her stories are compelling and sympathy evoking. Another Chinese woman who wrote her autobiography which touched on some of the same themes, who was in Tsingtao when I was, and whose tale enchanted me, was Dr. H. Mei Lu, who now lives in Honolulu, and whose book was titled, "Grandfather's Microscope" q.v. Coming from a humble background, in China, she became an esteemed pathologist in the United States. I heartily recommend her book as well as Amy Tan's, for any Sinophile. These ladies both write extremely well, and have immensely interesting things to say.

Joseph (Joe) Pierre, USN (Ret)

author of The Road to Damascus
and other books

Not Very Impressed with EITHER the Book or the Movie
I had to read the Book and watch the movie in school and I did not like either of them. I had to also write a movie review for it so im gunna publish it to the whole world to see. Hope this helps anyone who is thinking about watching this movie or buying the book. Also there are a few spoilers in this review so be forwarned but their isnt anything that really ruins the story, wait what am i saying the story is to mixed up to really understand in the first place that it shouldnt make much of a difference. O well here goes nothing:

The "Joy Luck Club" was just an average film due to its soap opera-like quality and random flashbacks. This made me confused by sending the plot into all different tangents and directions. When a book changes time frames, the reader can go back and re-read sections if need be. In a movie setting, however, the viewer cannot turn back and rewind the lost moments and the time frames quickly occur. The movie features only fine looking Chinese daughters who are part of this "Joy Luck Club." I felt that this was an unrealistic portrayal, as in the real world; there are many types of people. The "Joy Luck Club" is not explained to the audience and assumes that all have read the book prior to this movie. This movie was directed by Wayne Wang and the screen play was written by Amy Tan, who also wrote the book.

This movie begins in San Francisco where a party is being held for Jing-Mei "June Woo". She has been given money to go to China to see her two lost sisters. Jing-Mei June Woo is played by Ming-Na. The movie followed closely to the book in some respects by not others. For instance, during the red candle scene in the movie, there was no mention of the importance of the candle. The chapters in the book were scrambled when they appeared in the movie.

The acting was inconsistent. At the end of the film when she meets her sisters for the first time they do not seem to be reacting to each other. One of the women who is supposed to be the sister, also played the mother of June in a flashback. Andrew McCarthy who played Ted Jordan did a good acting performance and sold the scenes he was in, such as the scene where he told his mother off. Some of the mothers, such as Ying Ying and Lena Saint Clair who were played by France Nuyen and Lauren Tom respectively, made me want to laugh because of some of their unrealistic portrayals of overly broken Chinese accented English.

The plot was sporadic at times and seemed to take away from the original story line to the point that was irritating. The whole movie was a series of flashbacks that each person lived through. There was originally a party at the beginning of the movie, but then the scenes would quickly shift backwards in time to each person's life. I liked the transition that the director made when June's father talked about her mother's past because he explained what the mother had experienced. The flashback of best quality, however, didn't quite fit into the movie where it had been placed. It seemed to throw the viewer into the scene without hesitation. This movie was also quite choppy with too many events occurring in rapid sequence which began to lose steam while becoming dull and redundant. Three out of the four mothers seem to have lived the same story comprised of a bad marriage followed by a divorce and remarriage with many trials and tribulations along the way.

The themes were spelled out much more in the movie than in the book. The feather that was given to June was explained to her by her father without subtlety. The mother who sacrificed her life for her daughter was also played out and the reasons for it were amply described by the daughter. There was one theme that was explained in the end of "Best Quality". The scene was not portrayed or shown in the beginning of the flash back scene.

This book, turned movie, would be better for an older audience, such as 40 and up. It is more of a "woman's movie" with a sappy ending that most men probably wouldn't like, me included. I give this movie a C, but would probably receive a B from a more mature viewer who may be more interested in true life situations as opposed to comedy or action movies that a younger viewer might enjoy.

I would give this 2 1/2 stars but I could only select either 2 or 3 which is why I selected 2. Hope this helps! ... Read more

Amazon.com

Anaïs Nin (Maria de Medeiros) is a young woman in 1930s Paris whosehusband is slowly defecting from art to working in a bank, leaving her very bored. When the then-unpublished Brooklyn writer Henry Miller (Fred Ward) enters her life, she embarks on a journey of seduction and sexual exploration that eventually leads from the writer to his wife, June (Uma Thurman), who finances her husband's life in Paris so he may praise her beauty in his writing. Unhappy with her husband's writing and her lovers' affair, June enters a jealous rage, forcing Henry into suffering-artist mode and Nin back to her husband. Despite having one of the more erotic scenes of the 1990s, between Nin and June, the film does not live up to its subject, largely due to a mediocre screenplay and flawed direction. The strength of the original material and Medeiros's decidedly unflawed performance, however, make it worth viewing. --James McGrath ... Read more

Reviews (26)

unforgettable
i first saw this film when i was sixteen on video as i couldn't see this in the theatres due to the nc-17 rating ofcourse. i have to say that this film looks every bit as good today as it did back then. the film is far from being labled as soft porn as it has many wonderful performances by some of the greatest actors/actresses to ever grace the screen & the sex scenes which are shown here are all tastefully done. i'd read some of henry miller's work before watching this film & i have to admit that fred ward makes a splendid, believable henry miller come to life. great nods should also go out to maria de medeiros who gives much spirit to the passionate & much loved anais nin as well as uma thurman who gave the performance of a lifetime as miller's beautiful wife june. i visit this film from time to time & i always see something new each time i watch it. if you desire a film which has intelligent dialogue, fabulous acting, & a timeless theme then henry & june is the film for you. if you enjoyed jurassic park 3, you probably won't find this film very fascinating.

Literate Passion
One of the most underrated movies of the 90s. (It also marks a disappointing moment when the studio _could_ have backed up an NC-17 film not porn but meant for _real_ adults....but caved to puritanism instead). The top two reasons to see it are the performances of Maria de Medeiros as Anais Nin (it's almost a reincarnation) and Uma Thurman as June, two of the sexiest, most intelligent, passionate portrayals of women in recent cinema. Forget Thelma and Louise -- these two are a combustible pair. Fred Ward's performance as Henry Miller, too low-key, is pretty much lost in the shuffle, without any of the dynamic magnetism Miller had in spades. The movie explores the nature of desire, infatuation, obsession, and real love, and is pretty faithful to the actual events -- but some elements (such as the significance of June's puppet Count Bruga, made for her by her lesbian lover, Jean) are lost in the translation to the screen. For people bored to tears by the dichotomy of soulless porn on the one hand and Hollywood mush on the other, this is an intelligent and _sexy_ movie. Two lovely companion books are Anais Nin's diary "Henry and June," on which the movie was based, and Nin's and Miller's unexpurgated letters, "A Literate Passion." That title sums up both their lives and the movie based on them.

A journey of self-discovery and fulfillment
Though HENRY AND JUNE is primarily thought of as an erotic tale, I view it as the journey of self-discovery, and quest for fulfillment, of the four main characters: Anais Nin and her husband Hugo Guiler; Henry Miller and his wife June. Since the setting of this journey is 1930s Paris it is only logical that it would occur within an erotic context, but I advise the viewer to look beyond the steamy scenes and to search out the underlying themes.

After a few viewings of this movie, and readings of Anais Nin's diaries upon which this movie is based, what comes clear to me is that the characters are two halves of a whole person:

1) Anais Nin, the bored housewife who dreams of erotic adventure but feels trapped by, and is financially dependent upon, her husband; June Miller, the worldly woman who shifts between New York and Paris, has affairs with women, and occasionally works as a prostitute to support her husband.

2) Hugo Guiler (husband of Anais Nin), the workaholic banker who eventually comes to be financially responsible for all four protagonists; Henry Miller, the unemployed writer who has abdicated all conventional responsibilities and who is dependent upon the charity of his friends in order to survive.

It's a highly unconventional story to say the least, but that's exactly what makes it so interesting. Watch it with an open mind and you will see that there is more to the story than just sex. You will see four people on a quest for fulfillment and self-discovery, doing so in the context of sexually liberated 1930s Paris.

Captures the endemic seach for liberation in 1930's Paris
This 1990 film, directed by Philip Kaufman, is set in Paris in 1931. This was a time and place between the two world wars that attracted writers and artists to a bohemian lifestyle, a time of discarding old conventions and embracing experimentation. Here, Henry Miller, an American expatriate wrote his wildly erotic books, which were banned in the United States. And Anais Nin, known for her extensive diaries about her sensory experiences, began her literary career here. It's no wonder that the two of them would meet and couple. They were both married at the time and this film is about the complex relationships between Henry, Anais, and their respective mates, all searching of a kind of liberation which was endemic at the time.

Fred Ward plays Henry as a crass American with a Brooklyn accent that makes native New Yorkers, such as myself, cringe. He's all man though and it's easy to see why Anais Nin, played by the large-eyed petite Portuguese actress Maria de Medereiros, is attracted to him. Her own husband, Richard E. Grant, is attractive as well, and it's clear that they have a good romantic life together, but he's willing to look the other way at his wife's desire for others. When Miller's wife, June, played by Uma Thurman, a fiery androgynous mother-earth figure, comes on the scene, Anais Nin finds herself attracted to her as well. This sets the scene for some interesting complexities.

The video is two hours and 16 minutes long and I expected to watch only half of it one evening and the rest of it the next night. However, from the moment it started I was completely captured by the story and just had to watch it all the way through. The cinematography is so good that it was even nominated for an academy award, not for just the excellent views of Paris, but for the way the intimate scenes are done which manage to convey the relationships and the sensualities of the moment while avoiding being explicit. The focus is on the romance and the concepts rather than the physical acts. This kept the scenes erotic and it also moved the story forward. I was totally intrigued and kept wondering what would happen next.

The acting was uniformly good, but special note goes to Maria de Medeiros who played Anais Nin. As she works primarily in French films, I had never seen her before. She uses her huge dark eyes and facial expresses so well, that just a glance conveys layers of meaning. She's the focal point of every scene, in spite of the larger and more voluptuous Uma Thurman. And that's exactly what the director intended.

Some might find this film slow as the drama and tension is just about the people, not about world events or outside influence. However, it manages to create a time and a place and people that influenced the literary world as well as the mores of future generations.

Henry and June
Henry Miller, the author of "The Tropic of Cancer," was a very interesting man to say the least. Having only read that book, I have developed somewhat of an understanding of his persona.

This has been a favorite of mine since it's release. It is very intimate look into the relationship between Anais Nin, Henry Miller and his wife June.

It is a very sexual movie, not meant for the easily offended.

The women are beautiful and Henry as masculine and rugged as his reputation suggested.

The film is a masterpiece, the acting outstanding, and the cinematography absolutely beautiful. ... Read more

Amazon.com

One of Jim Henson's finest hours was the Storyteller series that aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. Half of the eight-part series was adapted from Greek myths by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (a sturdy and wonderful Michael Gambon, accompanied by a scene-stealing dog) with dialogue from the stories to beguiling effect.

By nature, the Greek myth episodes are a bit more mature and downbeat (ages 8 and older) than the rest of the series, yet give the audience lasting impressions of oft-quoted tales. In "Perseus and the Gorgon," King Argos locks away his wife when it is foretold his future son will kill him. Soon mother and son (Perseus, fathered by none other than Zeus) are washed ashore and another angry king looks to take away Perseus's mother. How can Perseus win the day? By killing the evil Gorgon whose snake-covered head includes eyes that turn humans into statues. Derek Jacobi stars as the brilliant Greek designer in the second tale, "Daedalus and Icarus." The father goes through many hardships, including the famous episode of his son flying too close to the sun. All is not well and does not end well. John Madden (Shakespeare in Love) directs the tale of "Theseus and the Minotaur." A young man reunites with his father, King Aegeus, but is cursed by his witch of a stepmother (literally). When Theseus tries to stop the regular sacrifice to the half-bull, half-man Minotaur, a new curse awaits the young prince. The magical musician Orpheus (Art Malik) finds his muse in "Orpheus and Eurydice." Unfortunately, she soon dies and goes to Hades where Orpheus follows, attempting to win her soul from the devil himself. --Doug Thomas ... Read more

Reviews (2)

Immerse Yourself In Ancient Mythos...
Whether you are a Mythology major in a university or one who has become so familar in the subject that you consider yourself an expert, you are sure to love these myths-come-to-life retellings brought to the screen. Kept in the same vein as Jim Henson's The Storyteller series featuring John Hurt, this series is also told by a teller of stories represented by Michael Gambon and with as much ability to mesmerise the listener as his predecessor.

The music (which is a crowning point, in my opinion) is weaved by Rachel Portman who, as always, delivers a lovely score marred fittingly with dark, forboding - yet bittersweet tones. In many instances such as in the tale of 'Orpheus & Eurydice', the climatic storytelling is accompanied by the score which successfully heightens the intensity of what will happen next. Everything set to music from Eurydice's 'birth' to Ariadne's furious curse when she realises Theseus has abandoned her is rapturously beautiful, chillingly haunting.

The acting performances are also well worth mentioning, most notably that of Gina Bellman [Eurydice], Jesse Birdsall [Aristaeus] and Maggie O'Neill [Ariadne]. Whether it be the wonder found in new life, mischief or the sting of being betrayed, these things prove small feats to bring across by such seasoned performers as these.

Having waited what seems forever for this program to come to DVD, I am ecstatic that it finally has. Remaining true to the original Grecian myths, this series will be cherished for ages to come in the homes of fantasy and mythology lovers alike.

Complete your Jim Henson's The Storyteller Collection
Last year, fans were thrilled to find Jim Henson's The Storyteller Collection on DVD for the first time featuring the fairy tales crafted for the series. Thanks to the success of that DVD, the Greek Myths are also being released this year. While the effects of the series are somewhat dated, the series is still spectacular, incorporating the genius of Jim Henson and those he gathered around him. Also note that the storyteller in this series is Michael Gambon, the new Dumbledore in the third Harry Potter movie.

And to let you know what is on the DVD, here is the episode info provided by Columbia Tristar Home Entertainment:

DAEDALUS AND ICARUS: Daedalus, one of the greatest inventors of ancient Greece, and his son Icarus are betrayed by cruel King Minos and must flee for their lives. To escape Daedalus creates wings to they can fly to safety but will the young Icarus heed his father's instructions or will their dreams melt away.

ORPHEUS AND EURYDICE: The great musician Orpheus vows to bring back the soul of his beloved Eurydice from the depths of Hades. But the task he must complete to reunite with his love turns out to be as tortuous as the fate he will have to endure.

PERSEUS AND THE GORGON: When the evil king threatens Perseus' mother, he must bring back the head of Medussa - who's stare will turn anyone who looks upon her to stone. Will the help of the gods be enough to aid in this seemingly impossible task?

THESEUS AND THE MINATAUR: With the help of a beautiful princess, Theseus tracks down the man-eating Minotaur, half-man, half-bull to prove his courage and loyalty. A fight to the death ensues, and a shocking secret emerges. ... Read more

Reviews (42)

Mostly cliched, but there are some good things. (SPOILERS)
"Jersey Girl," Kevin Smith's first foray away from Jay and Silent Bob, is a father's story. Smith, a new parent when he wrote it, had feelings about his experience that he wanted to share - how a reluctant single father, played by Ben Affleck, sees his life change because of a child and how he comes to embrace it. That part of the film rings true. And there are touching moments regarding how he deals with his seven-year-old girl's questions about sex. And Affleck's performance is better than usual.

However, much of the film is completely mundane, featuring movie cliches that are so tried and true that you'll often know where "Jersey Girl" is going before it gets there. For instance, when you hear the daughter in the film mention her "school play," you know something's going to happen to keep her father from getting there on time. After a downright wacky elementary school performance of "Sweeney Todd" (that no authority figure organizing the event seems completely aware of until it's onstage), the shocked audience proceeds to "slow clap" their way into a standing ovation.

And the movie's essential conflict at the end is between a father's ambition to be something other than a garbageman and loving the quirky life that he and his daughter already have, so the conclusion is far from surprising. (My problem with this film and other movies who pose this conflict, like "Sweet Home Alabama," is because few in Hollywood really picked the small town life, though they make movies about people who do.)

There was a Q&A with Kevin Smith after the screening I attended, and the Q&A was far more entertaining than the film. Smith, who has done edgy films confronting homosexuality and religion in the past, makes his most Hollywood-ized film here.

just a little laugh..a little tear...
Ollie Trinke is a slick Manhattan rock promoter who falls in love, gets married, and has a baby. Things are cool so far. During labor, his beautiful wife delivers a lovely baby girl. But sadly, Mom doesn't make it. Ollie really loved his wife. And the problem is now: Who will take care of the child while Ollie presents Fresh Prince? A talented cast, a witty script, and the devilish Kevin Smith have given birth to the sleeper of the year. Aren't we all chasing that better job? Should I buy a new cell phone? Is my car out of date? Does it matter? "Jersey Girl" attacks the GEN-X madness of modern big-city rat-race. What is happiness all about? The big bucks or the little family? No new ground here, but very flawless execution. "Jersey Girl" stars Ben Affleck, cool and sober, and perfect as big-shot Ollie Trinke. The cast includes Liv Tyler, Jennifer Lopez, Matt Damon, Will Smith, and a very remarkable George Carlin. The real ringer is little Raquel Castro,as 7-year-old Gertie. This tiny ball of dynamite from Long Island steals your heart and leaves you laughing out-loud. Doubt me? Don't just buy a ticket for "Jersey Girl", get down to the theater right now! My mother was from Teaneck. Trust me on this one. There's nothing like a "Jersey Girl".

Why not? Watchable. And Liv Tyler is on fire.
The worst thing that one can say that J Lo is tragically miscast. I am not saying she is a bad actress (because she is not bad, she is quite simple THE WORST), but for the role, it is impossible to feel sorry when she dies: talk about impossibility of separating actor's own image from the role. The saddest moments of the movie are the first minutes when this self-centered, hysterical, unstable, whining cow is actually on the screen.

Ben Affleck is average - I did not mind watching him in this role; and he has a credible go at credible depiction of the type. George Carlin is superb, and his caustic wit, an echo of all-stops-pulled stand up performances, occasionally shines through - a delight.

But of course it is Liv Tyler who makes the movie not just watchable, but very, very pleasantly watchable. Liv is heart-stoppingly cute in this film, even in her slightly unflattering librarian spectacles. The film is family stuff, so don't expect One Night At McCool's type of drooling (foamy car wash and stuff), but oh boy is she worth her royalty check.

Give it a chance!
I don't know what everyone is complaining about. It is a moving tearjerker and cute too. Of course it's not going to get any oscars for acting, but why not just give it a chance? Raquel Castro is an incredibly talented kid, and I am no fan of child actors or actresses, believe me. I also found George Carlin to be perfectly cast. Maybe the folks who are panning this movie are not parents yet, so they see the whole thing differently. I say, "Give it a chance!"

A Little Bit for Everyone....
So I admit that it's not the best I've ever seen of Afleck. It is the best I have seen of J Lo (though that is not saying much). But the movie overall is pretty good. I am an avid Kevin Smith fan and as such I was excited to see the movie, but I did not get my hopes up. I found this movie to cater very much to his fans. In my opinion it is an attempt for Kevin Smith to bring a heartfelt family type, quasi-chickflick to his fans who probably aren't the biggest fans of those types of movie. Unfortunately for other moviegoers, it seems to be lost on them as the style doesn't fit into any "normal" category. It is for that reason that I applaud him. This isn't the best movie Kevin Smith has made, but it is very enjoyable and successfully translates Smith's style to other genres of film. The movie is fun, funny, and touching. Raquel Castro is absolutely enchanting, Carlin gives a wonderfully touching but hilarious performance, and Afleck can be sentimental if you give him a chance and don't prejudge.

Other people say that this film is just a rehash of the cliche, but then aren't most touching chickflick type movies? I think that Kevin Smith's style adds a great deal to the movie to make it stand out from the rest, as I am tired of all the other cliched heartfelt movies.

However, I'm waiting to buy the movie until it comes out on Special Edition with all those great Kevin Smith extras next year. ... Read more

Reviews (114)

I can dig it!
I am 21 years old. My mother raised me with the monkees music and tv shows. I did not see this movie until 2 years ago. I was impressed. And so should everyone else be that called them a "fake" band and so on. The talent is remarkable, as well as the direction and the writing. This film involves all of the angst and emotion of their personal lives as well as the sign of the times. They were trying to find love and peace in a world ridden with war. At the time they were so passionate about their beliefs, as well as with trying to strip off the stereotypes that people put on them by thinking that they weren't original or by comparing them to the Beatles (with whom they were friends with and hung out with on a regular basis). Everyone will have a different opinion after watching this movie. My opinion is that it is thoroughly enjoyable and an absolute shame to never see. There are so many different scenes and wonderful actors and great music! I think I am going to watch it again right now. Oh, and remember:Nobody ever lends money to a man with a sense of humor.

The Ultimate Acid Trip
Bob Rafaelson and Jack Nicholson were at a party with the monkees while all of them were stoned and asked them questions about their fame, their desires, and their fantasies and the result was Head, a psychodelic, plotless mindtrip which flows like a good Monty Python Episode.

Those tuning in to see the rapid-fire improv-filled laughtrack which was the TV series are in for a shock as this has none of their ultrasticom comedy, but hey! Hey! it's still the monkees....everything is just a bit more abstract and surreal :) And let's not forget the music! Wow! The monkees have never sounded so good, writing nearly all of their material. Mickey shines on Psychodelic "Porpoise Song" (while we see him jump off a bridge into a mermaid-filled sea) and the sweet ballad "aas We go Along. Mike Nesmith really rocks on "Circle Sky" and Peter Tork gives us more songwriting weirdness with his rapid fire "Long Title: Do I Have To Do This All Over Again?"

This is a good movie to sit back with your friends and watch entranced at its path. Lots of fun cameos by the likes of Teri Garr, Frank Zappa, and of course Victor Mature and his hair!

Groovy!

cult classic
All I have to say is if your a true monkees fan your wasting your time I'ts terrible. How ever if your a huge fan of Rocky Horror Picture Show, Shock Treatment,J-Men Forever and any movie that director
Ed Wood did "except" Orgy Of The Dead (thats just asking for punishment.)than this movie is awsome.
I don't under stand why Peter Tork is the star of the movie ,he's on the least compared to the other guyes.

Head is a trip!
What is so unique about HEAD is that it's dreamlike in a way that few movies are. A uniquely crafted film inspired by the underground films of the 50s & 60s. Few movies manage to be entertaining solely on the strength of editing, but here a series of dreamsequences are seemlessly strung together in a fun and innovative way. The most revolutionary part has to be the way the beginning and end sequences were connected by the events between them yet are the same scene with only slight variations. Huh? As the Monkees put it, "when you see the end in sight the beginning may arrive". How they do it is masterful. If you try to make sense of this movie, you'll be missing the point. The best thing to do is just mellow out before you watch it and allow HEAD to mess with your head a little. It will if you give it a chance and that makes for a truly rewarding viewing experience. Outside of the Monkees trying to escape their manufactured image, nothing really makes sense in this strange little movie. However, criticising HEAD for it makes about as much sense as critising your dreams for being equally strange and nonsensical. Where comedy is concerned, HEAD is not funny in a humorous way but rather in a peculiar way, similar to the way dreams have you saying, "what was that all about?" later on. If this had been a hit, it could have taken popular filmmaking in a whole new direction.

The Definitive Anti-Masterpiece
When this film was made the career of the Monkees was already in decline as their show had been cancelled and their music was no longer charting ('Porpoise Song' from the "Head" soundtrack got up to number 62 on Billboard). The group was tired of their squeaky clean image as the 'Pre-Fab Four', and they just wanted out. This film was conceived in an effort to reach out to more adult audiences, and to hasten their departure from the scenes as the prototype MTV 'boy band'.

The film itself is a quirky, stream of consciousness movie that treads the line between anti-war statement film to over the top comedy in scenes where, for instance, they have to frolic on the scalp of Victor Mature (in a sequence known as 'dandruff') and are subsequently sucked into a giant vacuum cleaner by Victor Mature's hairdresser. There is no plot as such, but there is some redeeming social commentary such as when Frank Zappa tells Davy that he needs to work on his music more (but compliments his dancing, done with Toni Basil). At the end of the scene Frank Zappa's cow offers her opinion of the Monkees, in a scene that must be my favorite of the movie.

Some of the music is great, with the Nesmith tune 'Circle Sky' getting top mention. It's a great song, filmed live in a scene designed to show how the boys had been devoured by their public image. Other musical numbers are a bit lacking, particularly 'Daddy's Song' and 'As We Go Along.'

Highlights in the film are in the cameos. Not only do Toni Basil and Frank Zappa put in appearances, so do boxer Sonny Liston (who fights Davy), Terry Garr (who pleads to have poison sucked from her finger), Annette Funicello (who pleads tearfully with Davy in a love interest scene), and Jack Nicholson and Dennis Hopper in a cantina scene. Most peculiar of all credits are for writers and producers, namely longtime Monkees collaborator Bob Rafelson, and Jack Nicholson, who later collaborated on "Five Easy Pieces" and "The Postman Always Rings Twice", among other projects.

There are also extras consisting of theatrical trailers, including one in Portuguese, and television ads for the film. The film was essentially not promoted, certainly didn't connect with the typical Monkee demographic, and was a disaster at the box office. This didn't trouble the band, as it gave them a clear path out, with Peter quitting very shortly after the movie was released. This is as unlike the Monkees TV show as can be imagined, and I recommend it for anyone looking for a trippy sixties flashback stranger than most any other. I was fortunate enough to see this in a theater, and have loved it ever since. I recommend the film to people who know about the Monkees or just think they do. I guarantee that it will shatter your preconceived notions of the band. ... Read more

Reviews (109)

Can't Remember the Last Time I Laughed This Hard
For some reason, I had no idea that this was a Coen brothers production until the end of the movie. Then, when it was all over and the credits began to roll, it all finally made sense. In fact, I didn't know why I hadn't guessed it. Because this movie is so... Coen brothers.

Nicolas Cage plays Hi, a repeat inhabitant of the Tempe, Arizona prison, where he meets police officer Ed (Holly Hunter) and falls in love with her. After Hi's third parole, he agrees to give up his life of crime for Ed, and the two get married. Before long, they decide that they want nothing more than to start a family. Ed, however, is barren -- and they find that it's not exactly easy for a repeat offender to adopt a child.

When Nathan Arizona, owner of the furniture chain, Unpainted Arizona, is blessed with quintuplets, Hi and Ed decide that the Arizonas have more than they can handle -- so they decide to take one of the babies. But before Hi and Ed can settle into their new lives with little Nathan, Jr., Nathan Arizona offers a reward for the baby, and suddenly everyone's after him.

I honestly can't remember the last time I laughed so hard while watching a movie. I laughed so hard that I choked. I almost died -- but really, can you think of a better way to die? I can't.

Raising Arizona is bizarre and quirky -- and just the expression on Nicolas Cage's face throughout this movie (not to mention his wild hair) will keep you snickering from start to finish. Mix the perfectly ridiculous dialogue and the perfect amount of slapstick, and you've got the perfect addition to any DVD collection.

Quite possibly the funniest movie ever made
I've seen Raising Arizona far more times than I can count. It is, in my humble opinion, next to Kubrick's Dr. Strangelove the most original, inventive comedy ever made.

The dialogue is absolutely razor-sharp -- plenty of examples are certainly readily available in the reviews preceding this one -- and the camera work is wonderful, as well. I'd rank Raising Arizona a VERY close second to Miller's Crossing in a list of the Coen's best films. It is admittedly not as visually stylish as Miller's Crossing (then again, very few films ever made are), and the storyline is not as cohesive as Miller's Crossing, Fargo, or Barton Fink. However, the film is so full of verbal gems that it definitely ranks as the Coen's best dialogue writing effort. Cage and Hunter are wonderful, and John Goodman and William Forsythe are absolutely perfect as the Snopes brothers.

Admittedly, the DVD is nothing very special. All you really get is the more durable medium and a widescreen format. Some kind of "The Making of..." mini-documentary, or better yet, a commentary option with two or three of the actors, the director of photography, or ideally the Coens themselves would have been a priceless addition to the DVD.

Raw, Unvarnished Comedy -- Laughs Galore!
One of the earlier films of the Coen brothers (Joel and Ethan), "Raising Arizona" nevertheless lays the foundation for the Coens' later, more polished efforts.

H.I. ("Hi") McDonough, played with an earnest romanticism by Nicolas Cage, is a classic Coen protagonist. He means well, even if he can't get his master plan to quite come together (this is a man of dreams, forced into the life of a small-time hood by trickle-down economics), and he is prone to speaking in fits of poetry that often go awry ("There's what's right and there's what's right, and never the twain shall meet"). In one of the most inspired courtings ever to be put on film, Hi woos and wins Police Officer Edwina ("Ed"), played by Holly Hunter in a career-defining role, while being booked on numerous occasions.

Denied the joys of parenthood by Ed's infertile womb ("a rocky place where my seed could find no purchase") and Hi's criminal past - Ed's police service doesn't quite "cancel out" Hi's record like they had hoped -- Hi and Ed can't really enjoy their "salad days" in their trailer in the Arizona desert. That is, until the Arizona Quints are born to unpainted furniture magnate Nathan Arizona. Deciding that old Nathan and his wife have more kids than they could handle, Ed and Hi decide to kidnap one of the little nippers. In a scene that parodies "Jaws," Hi snags Nathan Jr., and Ed and Hi are parents.

Unfortunately, Hi's criminal past catches up wtih him as Gale (John Goodman) and Evelle (William Forsythe) break out of prison and hide out with Hi at the family trailer. Soon they are on to Hi's kidnapping, and they decide to pursue their own agenda. Unfortunately for all concerned, bounty hunter Leonard Smalls is on the hunt for the kidnapped youngster, too -- and a nasty bloodhound from hell he is, too. Surely casting "Tex" Cobb in this part is one of the most inspired bits of casting ever!

The movie is chock full of surprises, from the chase scenes involving what seems like ten packs of hounds and more gunfire than one could possibly imagine, to a fight in the trailer that won't be topped until "Kill Bill, Vol. 2," and an over-the-top cameo performance by Frances MacDormand as a nosy neighbor with a fondness for bibical names and a trove of baby advice. The dialogue is rich, filled with comic inspiration and a touching devotion to family. And, like most Coen brothers movies, things generally turn out all right for our heroes, they definitely don't wind up the way they planned.

For fans of the Coens, off-beat comedies, Nic Cage and Holly Hunter (which should describe an awful lot of folks), this is a heck of a film.

Did anyone else notice??
Did anyone else notice that while H.I. (Nicolas Cage) was working in the sheet metal factory after being released from prison, the patch on his jumpsuit said "Hudsucker Industries"??

Had the Potential to be Better
Although this movie had its funny moments and some very memorable lines and quotes, overall I thought it was mediocre. I'm normally a big fan of Nicholas Cage and Holly Hunter, however this movie just didn't deliver. The plot was original and it could have had the potential at becoming a real classic, amusing film, however the hysteria overshadowed the entertainment value of it. There was too much predictable shrieking, screaming, and yelling that it just got annoying after awhile. I thought the worst part was towards the end when things just starting dragging on. Because it's a typical Hollywood movie, the storyline climaxes towards chaos and turmoil, but you can predict that in a typical fashion, there will be a few carchases, some yelling and screaming, some explosions, and then a happy ending (surprise). This movie could have been outstanding if the humor were more carefully thought out and skillfully crafted. ... Read more

Reviews (167)

Dynamite Cast + Good Fun = Excellent Film
First off: "Jackie Brown" is not a disappointment. After the surprise success of Tarantino's "Pulp Fiction" in 1994, everyone was looking for him to fail on his next attempt. Sorry, friends, but this just isn't the case. In many ways, "Jackie Brown" is a more enjoyable ride. After repeated viewings of "Pulp Fiction" and "Reservoir Dogs," one can easily pinpoint the weaknesses in Tarantino's style. He uses similar references to '70s action and blaxploitation films, he uses relic music hits from the same era, and he even uses similar character names (Marvin with no ear, meet Marvin with no head). The violence is always there, and the incessant use of profanity is always there. But "Jackie Brown" is different from these previous efforts. There's no appearances by either Harvey Keitel or Tim Roth; instead, the film is headlined by the queen of the '70s blaxploitation flicks, the eternally sexy Pam Grier. The supporting cast includes Robert Forster, a staple of cheesy B-movies, Samuel L. Jackson in a return to the world of Tarantino, and the very interesting threesome of Michael Keaton, Bridget Fonda, and the ever-versatile De Niro to round out the cast. So what, besides the cast, makes the film such a knockout? While the profanity level has been toned down, Tarantino's script loses no edge and maintains a constant freshness and sense of humor. Grier has never been much of an actress, but she's always had a certain charm, and she uses this charm effectively in "Jackie Brown." Forster gives his most memorable performance here, playing the role of Max Cherry with complete control and positive cool. Fonda is great as Melanie, and Keaton has a blast playing ATF agent Ray Nicolet, but De Niro steals the show as Louis Gara. De Niro has one of his better supporting roles here, and he makes the most of it. Louis is something of a dimwit, but only De Niro could inject the character with as much humor as he has here. The film, at 154m, is probably too long and overindulgent, but Tarantino presents us with an interesting plot, and some equally interesting subplots to boot. The most effective of these is the relationship that builds between Grier and Forster; there is an attraction there, but the insecurities of each character prevents this from ever reaching a climax. The film is colorful, has solid (but not brilliant) direction, and, aside from some serious lapses in logic, the script flows seamlessly. And guess what? There's no guest appearance by the man himself, who must have realized after "From Dusk Till Dawn" that, while he may be a writer and a director, and actor he is not. "Jackie Brown" reveals the limitations of Quentin Tarantino, but the film is still a riot, and one of the most entertaining of 1997. That's more than I can say for James Cameron's "Titanic," which fails on all levels for me, despite what the critics say. "Jackie Brown" delivers a knockout punch. It's great to see that some Elmore Leonard novels are finally getting the big-screen treatments that they deserve.

Fond-a Weapons
Jackie Brown: rated R, 2 hours and 40 minutes

Jackie Brown is an incredibly well played movie about guns, drugs, and money. Half a million in cash is up for grabs, and the only way to obtain it is by figuring out who is playing whom.
When Jackie (a stunning Pam Grier) is caught at an airport carrying a veritably large sum of money and a bag of crack, the outline of the story is formed. Jackie is held in custody facing possible time in prison, when the deceptive Ordell, played by black talking Samuel L. Jackson steps into the picture. Ordell hires an honest bailbondsman, Max Cherry, to release Ms. Brown. While Ordell takes care of business, we see behind-the-scenes conversations between the spaced out Robert De Niro, as Lewis, and the dim-witted Bridget Fonda, as Melanie, two of Ordell's main connections. Jackie becomes caught between two sides, both with equal objectives. Ray (Michael Keaton), the cop that apprehended Jackie earlier is after small time arms dealer, Ordell, and Ordell is pulling Jackie into his scheme of acquiring the cash. Meanwhile, Lewis and Melanie have their own plans of taking the money. Jackie can't afford to get into any more legal trouble, and if she doesn't cooperate with the man she owes her freedom to, she will be killed, which sets the stage for the perfect swindle.
Quentin Tarantino, creator of Jackie Brown, is master of 'film noir', and adds an interesting perspective to one scene in particular. Jackie is forced by the feds to frame Ordell, and according to Ordell, she is supposed to double-cross them. Caught in the middle, Jackie must fake an exchange of marked bills, in order to seem loyal to both. The switch is shown through three different viewpoints, adding greatly to the effect. The first time, Jackie is shown leaving the bag of money in a dressing room. Next, Lewis and Melanie are shown actually making the exchange, with the real bag of money left behind in the dressing room, and a suspicious Max Cherry watching. Lastly, Max Cherry watches as Lewis and Melanie swap bags, and the actual bag of cash left for him to pick up. By doing this, the big picture is seen through bits and pieces. Tarantino deserves much credit for its ingenious execution, and Jackie Brown in its entirety is recognized as a success, with phenomenal acting by the whole cast, primarily Pam Grier.

Great! Awesome! Fantastic!
Nobody and I mean nobody makes movies like Quentin Tarantino. JACKIE BROWN is one of the greatest movies of all time. Personally, This is my favorite of Quentin Tarantino's films. So get your copy of JACKIE BROWN today!

Not bad, De Niro is fun
Jackie Brown is certainly not Tarantino's best but it is amusing. As in pretty much every movie Samuel L Jackson plays a pretty important part as a gunrunner. He lives in a LA house with the very hot Bridget Fonda. A friend who just came out of jail lives with him and helps him. This is absolutely the funniest character in the movie, played by De Niro. He is a little dumb, lazy and slow but funnily played.

Key to the movie is Pam Grier as Jackie Brown, the smartest person in the movie because she can play both sides, the feds and the criminals and ends up with a lot of dough.

Not a super movie and with 150 minutes definitely too long, but still fun.

Not quite PULP FICTION, but certainly worthy Tarantino
I love Quentin Tarantino. You watch him speak about his art in interviews, and while I realize what I'm responding to might simply be a cleverly-wrought public persona, his energy and enthusiasm for his craft is just so infectious that one cannot help but be energized too. That energy certainly carries over into his movies, and while he may not be the most thrillingly visual director, his undeniable gift for dialogue more than compensates in his films.

PULP FICTION, as of now, is my favorite movie; the dialogue sparkles with wit, and I could hear those lines over and over again without ever getting tired of them. JACKIE BROWN, his follow-up to PF, is just as good as PF, if not quite its superior. Many complained upon its release that this movie was too sluggish and slow-moving (the above Editorial Review calls it "decaffeinated"). Sure, the plot of this movie certainly could become a taut, exciting thriller under another director's hands. But clearly writer-director Tarantino isn't aiming merely for action-movie thrills. He is also focused on his characters, particularly with the two older characters, Jackie Brown (Pam Grier) and Max Cherry (Robert Forster), two characters who have an unspoken attraction to each other that brings an intriguing undertone to a majority of the crime story. If Tarantino takes his time developing his characters and laying out the plot...well, the characters' dialogue is consistently full of life; the characters are interesting (and the performances terrific across the board, particuarly Forster's); and the convoluted plot, when it kicks into high gear, is a source of fascination as well. Watching it, I hardly ever felt that it was too slow for its own good: I was too fascinated by what I was seeing and hearing to notice any possible deficiencies in pacing. (Another Elmore Leonard adaptation, Steven Soderbergh's OUT OF SIGHT, took a similarly leisurely approach to its crime plot, and it worked just as well in that film, too.)

In short, JACKIE BROWN is an underrated Tarantino masterpiece. It may not be quite the film PULP FICTION is (since it had a more palpably energetic feel to it, despite both films' running 154 minutes), but it is certainly a worthy follow-up. ... Read more

Description

In Notorious, a brilliant allegeory of love and betrayal, Hitchcock fuses two of his favorite elements: suspense and romance.A beautiful woman with a tainted past (Ingrid Bergman) is enlisted by American agent Devlin (Cary Grant) to spy on a ring of Nazis in post-war Rio.Her espionage work becomes life-threatening after she marries the most debonair of the Nazi ring, Alex (Claude Rains).Only Devlin can rescue her, but to do so he must face his role in her desperate situation and acknowledge that he's loved her all along.Stunning performances, Ben Hecht's excellent script, and Hitchcock's direction at its best make Notorious a perfect film. ... Read more

Reviews (103)

beautifully restored film with lots of dvd bonus features
It doesn't get much better than this -- a Hitchcock film starring Ingrid Bergman, Cary Grant and Claude Raines! What a treat it is to see all of this talent -- behind, and in front of, the camera. The story of a star-crossed romance set against the backdrop of post-WWII Miami and Rio, the film has a great script and terrific acting. The direction is awesome; Hitchcock did some wonderful camera work here -- innovative tracking and crane shots that are a delight to see.

This Criterion Collection DVD edition is more expensive but I think it's worth it -- a lot of time and effort have been taken to restore the film and the soundtrack, and it really looks and sounds great. Also, the many bonus features are excellent: excerpts from 'The Song of the Dragon', a two-part Saturday Evening Post short story on which the film was based; fascinating production correspondence by David O. Selznick, Ingrid Bergman, J. Edgar Hoover and the head of the Production Code Administration (censors); rear projection and production stills, including wonderful shots of the scaffolding used to get that breathtaking crane shot from a stairtop balcony right down to the key in Bergman's hand; script excerpts from deleted scenes and alternative endings; a music and sound effects only track; trailers; the complete 1948 Lux radio Theatre version of the story, starring Ingrid Bergman and Joseph Cotten; terrific voiceover narration with film scholar Marian Keene discussing artistic choices and film historian Rudy Behlmer discussing technique; and a touching story about the fate of the Unica key -- the one used in the film. Language and subtitles are English only.

This is a wonderful package for one of Hitchcock's best films. Highly recommended.

Beautifully Restored Film Classic
This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

Criterion Disappoints.
This is the first Criterion DVD that I've ever owned. I must say, I was pretty surprised by the price, but promises of extra treatment over standard editions of this movie convinced me to go the extra mile and pay twice as much. Notorious is, perhaps, my favorite movie with Cary Grant. Bergman's performance is excellent, to say the least (I think I'm in love with her now). The way that she passionately kisses Mr. Grant excites like no movies can. The look in her eyes makes her seem as though she is truly in love with him; which is exceptional for "acting". Grant's response seem almost insensitive, rejecting her for her "ways". It's very convincing work. The connection between the two characters amazes me, and the movie seems way ahead of its time. Claude Raines plays an overlooked (but perhaps the most important) performance that amazes me as well. Its definately a movie for all fans of classics to own. There's no doubt, in my mind, that this is deserving of 5 stars. It's probably one of my favorite classic films.

I have no regrets with buying this movie, but I feel very let-down by Criterion. Their attempts do not justify the jacked-up cost. The extras, at best, are pretty disappointing. The RKO radio broadcast (which is the best inclusion) is fairly sub-par in comparison to the film, especially since it was cut short to fit into 60 minutes. The "deleted scenes" and extras are merely text descriptions in most cases. All of this is material that has been in the Internet fan sites for years. As for the quality of the film; I'm neither impressed nor disappointed. The crispness of the film is certainly excpetional, but it almost feels a bit unnatural for such an old film. The "graininess" that many complain of is visable on a high-res TV or monitor (I watched on my standard TV and my PC as well), but it seems to be inherent in the film master itself. Dust particles and artifacts are pretty typical on older movies. Not bad, but not breathtaking. I'm happy with the video and audio quality.

Overall, it's a 5-star movie, but Criterion's effort is a 3 or 4 star attempt for the severe price-inflation. Unless you really must have this version, I can't see why the Anchor Bay release wouldn't be a suitable alternative. The picture quality is different, but each is nice in its own way. I will probably own both (in addition to possible future releases).

Neglected Classic
When I say neglected, I mean in comparison to other Hitchcock films. When people talk about Hitchcock, rarely does this film get mentioned. I think it stands alongside Sir Alfred's best work. Right up there w/ Rear Window, Vertigo and North By Northwest. Spectacular performances by Grant (a CIA g-man doing his job), Bergman ( a woman trapped by her past), Rains (a craven, cowardly, weak mama's boy) and Konstantin (an Austrian actress in her final film role playing the evil and sceming mother). Very realistic, conflicted and not particularly sympthetic characters. Hitchcock displays a perfect knack for creeping dread and a perfect final touch.

Shows How Much Love Hurts
I've always liked Notorious, but, until recently, it hasn't been one of my absolute favorite Hitchcock films. However, recently I've gained an appreciation for Alfred Hitchcock's more personal films. Lighter, more humorous films like The 39 Steps, The Lady Vanishes, Strangers on a Train, Rear Window, North By Northwest, Psycho (Hitch called this a black comedy), The Birds and Frenzy, to name a few, are masterpieces and rank among my favorite films of all time. But the films I have gained much more appreciation for in the past few years are those like Shadow of a Doubt, Vertigo and Notorious. Shadow of a Doubt showed that monsters can live among us, even in the most innocuous of settings and may even be someone we care about. Vertigo showed obsessive love taken to the extreme with deadly consequences. And Notorious shows just how hard it can be for someone to express love for another.

Like in many of Hitchcock's films, the central point of the story is masked by a plotline of suspense and intrigue. In this case, Alicia Huberman (Ingrid Bergman) must marry Alexander Sebastian (Claude Rains), an ex-Nazi in exile in Brazil, in order to infiltrate his organization. With the help of U.S. agent Devlin (Cary Grant), she finds out that Sebastian is stockpiling uranium (the MacGuffin). On the surface, it's a straightforward espionage tale.

However, the film, at its very core, is a tale of frustrated love. Specifically, Devlin can't bring himself to express what he feels for Alicia and must watch helplessly while she marries Sebastian. Devlin knows that he would jeopardize the entire mission if he tells Alicia he loves her and this repression begins to eat him up inside. Even at the beginning of the film when Alicia has fallen deeply in love with Devlin and tell him so, he can't bring himself to return that love, even though he feels just as she does. Cary Grant, usually charming, plays one of his darkest roles brilliantly. He shows his longing for Alicia in every expression on his face. Ingrid Bergman, likewise, shows the frustration of having to marry a man she despises while pining for the affections of the man she truly loves -- a man she thinks doesn't love her. The emotions