Reviews (88)

Branagh brings Shakespeare to life!
Kenneth Branagh is, undoubtedly, my favorite Shakespeare actor and director. He casts based on talent rather than popularity and his choices really pay off. His own roles are instilled with a vibrant energy and life not often seen in film.

This screen adaptation of Shakespeare's romantic comedy takes us on a light-hearted adventure of match-making and deceit. Branagh plays Benedick, a soldier in the company of Don Pedro of Aragon and a "professed tyrant" to the female sex who swears he will die a bachelor. Emma Thompson, then Branagh's wife, plays Beatrice, a free-spirited female version of Benedick. The two are engaged in a "merry war" of wits, and constantly offend one another. Their friends, however, see them as the perfect couple and endeavour to bring them together against their own wills.

The second love story is that of Claudio, another favored soldier of prince Don Pedro, played by Robert Sean Leonard, and Hero, a career-starting role for actress Kate Beckinsale. Theirs is a case of love at first sight, and they soon become engaged to be married. Don John, the prince's outcast brother, however, will do anything to destroy the happiness of one of Don Pedro's favored men. He and his henchmen enter into a plot to break up the engagement.

Don Pedro is played by Denzel Washington, and the role highlights his amazing versatility and talent as an actor. This is definitely one of his best performances. It is also refreshing to see a movie where the good brother is played by a person of color and the bad brother, Don John (Keanu Reeves) is white. Branagh made an excellent casting choice and both characters shine.

Comic relief is provided by an outstanding performance of Michael Keaton as Dogberry, the local sheriff who's more than a little off his rocker, but harmlessly entertaining. Delightful performances are also given by Richard Briers as Leonato, Brian Blessed as Antonio, and Richard Clifford as Conrade.

With great acting, verbal and physical comedy, and a wonderful musical score, this film is a definite must-see for any fan of Shakespeare and Kenneth Branagh. A truly delightful movie!

Much Ado About Something...
A warning: watching this film is apt to take away from your pleasure in watching any other film of a Shakespearian play. Simply, it's beautiful. The cast is a surprising ensemble that works incredibly well together (except, alas, for Keanu Reeves, who despite his best efforts, cannot act - luckily, the role doesn't require that he do so), the cinematography is beautiful, and the joy of watching Shakespeare done by good actors is that you actually understand the wordplay and the plot. Furthermore, there is no one star of the show (perhaps two, if Benedict and Beatrice are counted as the leads), so you don't get as sick of Brannaugh as you usually do in his mind-numbing epics (i.e. Hamlet - wherein near the end you feel like screaming, "There's a knife right there! Get it over with!). Finally, Emma Thompson and Denzel Washington are wonderful; Thompson is so consistently exquisite in all of her movies that Britain should put out an insurance policy, and I am very embarrassed to say that, of all of Washington's excellent films, I love this one the best. I have never seen Shakespeare done better in a movie.

Good or not..??
Good or not?? Its a GOOD movie I tell ya. I love it. First time I watched it was in my english class. Though I was quite suprised that we're allowed to watch movies that has nudity in it....don't know why. Yeah, there was a bit nudity and AHEM in here. But it is a HILARIOUS movie!! Theres famous actors today, Emma Thompson, Kenneth Baragnan, Micheal Keaton, Keanu Reeves, Kate Beckinsin, Richard Briers, Denzel Washington...lots more that I can't remember. Lots of comedy and romance. Come on, its a Shakespeare play. Its awesome!! Trust me, watch it or buy it I meant. ^_^

My Favorite Love Story
Many find William Shakespeare's Romeo and Julliet to be their favorite love story, but after seeing this movie it won me over. When you read his work after you see this movie it feels more exciting.
I enjoyed reading A Midsummer Night's Dream, but I haven't seen the motion picture, yet. This was also another great love story with colorful characters.
His colorful characters are one of the reasons why I love his writing so much. They have personalities; they have life. When the protagonists take too much of the story it gets boring, but when you have a rich melting pot of characters in which their lives all meet at some degree its a lot of fun.
In this movie you see song and merriment of the Mediterranean countires. Many courtships arise and the strenght of love, faith and trust are put to the test. See who wins and see who fails and see who gets a second chance.

Very Entertaining
This movie really took me by surprise. I guess I was expecting it to be dated and more serious, but in Shakespeare fashion it was quite entertaining and timeless. It was a brilliant take on a classic. Enjoy! ... Read more

Reviews (172)

Pretty Woman: the best movie in the entire pretty world!
Everyone knows this story, whether they've experienced certain parts of it, or just love it pure & simply because it's terrific. And if you haven't seen it, why not?! Go out and get it now. Go on!

This is the one Julia Roberts film that can never be out-done. No amount of Erin Brockovich's can beat this movie. This catapulted Julia into the big-time, mainstream movies, and she's now one of the highest paid actresses. I dunno whether something like Pretty Woman was never done before this, or whether I'm just sick of Julia Roberts now, but she won't come across a script as good as this again. Not even the supposed "sequel", with Richard Gere & Julia reteaming (they could go all the way and do a Meg Ryan/Tom Hanks) with Garry Marshall and Hector Elizondo for Runaway Bride. Nowhere near as good. But that's a different movie.

The actors are great, and I think it's the only Richard Gere movie I've ever seen - apart from Runaway Bride. The night elevator operator's face (Patrick Richwood) is an absolute picture most of the time, and he makes you laugh just by looking at him.

Of course, everyone knows that Julia's character, Vivian, turns from a poor hooker, into a rich lady. I much prefer Vivian as the hooker. When you first meets Edward (Richard Gere), she's fine, she's cute, and he gives her all this money, and she turns into a frumpy, awkward lady. The clothes are ill-fitting and really don't suit her.

In a few years, when Julia Roberts is old and grey (Richard Gere already was old & grey in this!), this will be considered a classic.

Watch out for a very much blink and you'll miss him role of the detective, played by Hank Azaria. I've seen this movie a hundred times, and it's the first time I noticed him!

The songs are terrific in this, from Roy Orbison's "Pretty Woman" to Natalie Cole's "Wild Women Do" (the video is not impressive though). The best song is of course, Roxette's "It Must Have Been Love", played as Vivian leaves Edward. It's a very poignant scene, and I always play this song if I'm feeling down about something. The lyrics match any relationship problem perfectly, and matches the scene in Pretty Woman

Romance & Comedy All In One
Pretty Woman is an excellent movie in my opinion. It's about Vivian Ward (Julia Roberts), a hooker who is 'working' on Hollywood Boulevard one night with her friend Kit De Luca (Laura San Giacomo). Around the corner comes a Lotust and the person in that car is none other than Edward Lewis (Richard Gere), a heartless business man on his way to the Regent Beverly Wiltshire Hotel. The car then stalls (he doesn't know how to work a stick shift) and that's when him and Roberts meet. Gere then takes Roberts to the hotel with him and before she knows it he's asking her to stay with him the whole week for $3,000.
Some of the cast members include Jason Alexander as Philip Stuckey, Edward's trusty lawyer, Ralph Bellamy as James Morse, the man who's company Edward's firm is trying to take over, Alex Hyde-White as David Morse, James Morse's son, and Hector Elizondo as Bernard Thompson, the manager of the
hotel.
The music in this motion picture is found on the Pretty Woman Soundtrack. It includes Natalie Cole - Wild Women Do, David Bowie - Fame 90, Roxette - Must Have Been Love, Christopher Otcasek - Real Wild Child (Wild One), and probley the most popular song that relates to this movie is Roy
Orbison - Oh, Pretty Woman.
I recommend this movie to anyone who likes comedy, romantic, or movies where opposites find one another. This movie will stick around for generations to come. I would give this movie five gold stars and two thumbs up.

Modern Day Pygmaelion
Pretty Woman is a great movie. When Julia Roberts acted in this 1990 classic, she was sexy, vibrant and cute. In her latest movies she seems to have lost her charm, and appears awkward and frumpy.
It is a romantic comedy about a lovable prostitute Vivienne (Julia Roberts) hired by a spoiled, jaded billionaire, Edward (Richard Gere) for a highly unusual assignment.

Needless to say, this encounter irreparably changes both of their lives forever. Thouroughly a story that is funny, touching and engaging,

The change is Vivienne from a streetwalker to a lady mirrors a Pygmalion/My Fair Lady type of theme.

As the voice at the end reminds us, sometimes your dreams come true and sometimes they don't but you are always free to dream!

Some pretty memorable stuff in this movie!

Modern Day Pigmaelion
Pretty Woman is a great movie. When Julia Roberts acted in this 1990 classic, she was sexy, vibrant and cute. In her latest movies she seems to have lost her charm, and appears awkward and frumpy.
It is a romantic comedy about a lovable prostitute Vivienne (Julia Roberts) hired by a spoiled, jaded billionaire, Edward (Richard Gere) for a highly unusual assignment.

Needless to say, this encounter irreparably changes both of their lives forever. Though a story that is funny, touching and engaging, Vivienne's dreams come true, and she able to start a new life, and having found love

The change is Vivienne from a streetwalker to a lady mirrors a Pygmalion/My Fair Lady type of theme.

Edward too has finally learned to love!

As the voice at the end reminds us, sometimes your dreams come true and sometimes they don't but you are always free to dream!

Should be called Pretty Stupid
This movie was terrible. If there was a perfume called "essence of fart" then thats what this movie would smell like. ... Read more

Amazon.com essential video

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles.In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on, but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot.

The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device.The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan).Their lives run in close parallel in the same idealized neighborhood, yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes.

It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and color coordinates their wardrobes for cocktail parties. --Sam Sutherland ... Read more

Reviews (480)

Caviar Garnish
This is the second remake of "The Shop Around the Corner". The first was Technicolor musical called "In the Good Old Summertime" which starred Judy Garland. References to Miss Garland's most famous film "The Wizard of Oz" abound in "You've Got Mail" (Meg Ryan hanging ruby slippers on a Christmas tree and reading the book "The Scarecrow of Oz" while ill, the song "Over the Rainbow" being sampled throughout and sung in its entirety at the end, etc.) In addition to reminding me of the two previous versions, I was also reminded of "Pillow Talk". In "Pillow Talk", Doris Day and Rock Hudson, who hate each other, fall in love over a party line without either realizing who the other is. Here, it's Meg Ryan and Tom Hanks falling in love over the Internet. The plot is lightweight and predictable, but the performances more than make up for that. Dabney Coleman, Jean Stapleton, Greg Kinnear, and indie-queen Parker Posey are all brilliant, and although neither of the leading rolls are much of a stretch for Hanks or Ryan, they are at least likeable and have more than enough star power to make this picture work. The script is light and funny, and this film is sure to please if you don't ask it to be more than it is.

The best romantic flick I've ever experienced.
There are a couple of things this film has going for it. First is the chemistry between the on-screen characters. There's a reason Hanks and Ryan were casted for this flick- it's because audiences (including myself) like to see the sparks between these two people. They were a great team in Sleepless in Seattle, and it's pretty obvious the 'magic' is still there.

The soundtrack to this movie is absolutely incredible. Harry Nilsson is perfect (the puppy song, over the rainbow), and the rest of the songs fit so well with the mood of the movie at all times. Sinead O'Conner's addition (I think it's called the lord must live in NY city) adds to the mood I talk about later, and Carol King's Anyone At All is one of the best romantic songs I've ever heard/played.

The mood to the movie is always incredibly upbeat- which is strange- most movies have their lulls or depressing moments. This movie, however, never gets itself in that rut. It's always very very cheery and bright. Although some may hate that, I can do nothing but appreciate the change of style. Everytime I watch You've Got Mail, I just think, "I WANT TO GO TO NEW YORK!!!"

Overall, the movie just makes you feel good. It's one of my favorite movies, and is certainly my most favorite romantic film. Even techies won't get annoyed, because thank goodness the focus isn't aol or anything of that matter.

Bouquets of sharpened pencils, indeed
Here's the main and completely irrelevant reason to love this movie: New York City in the fall. Honestly, it should have no bearing whatsoever on the plot, but it does -- and it's impossible not to fall in love with the bright, sunshiny, orange-leaved sheer beauty of the city encapsulated in this movie. Without even resorting to shots of Central Park in all its glory (and really, who can resist that?), "You've Got Mail" takes you on a lovely scenic tour of the Upper West Side, Starbucks and all. Who can resist the street fairs, the parks, the stores, the dock? It's picture-perfect, and if it's a bit surreal, I won't admit it: New York really is rather lovely in the fall.

Aside from making me want to run away to the Big Apple and work in the children's section at Fox Books, "You've Got Mail" also features Meg Ryan at her most adorable ("Aren't daisies just the friendliest flower?"), Tom Hanks at his most charming, and a terrific supporting cast (Greg Kinnear and those typewriters!). The story, a modernized little "remake" of "The Shop Around The Corner", is more fairy tale than realism -- two people fall in love over email, in war in real life, and however can such a thing be solved -- but it's an enchanting story nonetheless. In a time when romance on the web seems all-too-seedy and in reality, sometimes frankly dangerous, this little tale of two people sharing their most intimate thoughts long before they share a single glance is like a breath of fresh air. Sure, the technology's a little faded, but the magic's still there.

I know, I know...
I know what you're thinking. Tom Hanks, Meg Ryan, Greg Kinnear. You think you're too good for this movie, don't you? It's the sappiest, dumpiest little half-a-flick ever reared by Nora Ephron. Romantic comedies suck. Do I paint a correct picture, or do I exagerate? Well I think you're just cinematically jaded.

Yeah, that's right! I said it!

A lifetime of Vietnam movies and tragic love stories has left you too cynical to enjoy a simple romance between two adults. Teenagers getting into car crashes, mothers being diagnosed with breast cancer, murderers who you like despite the fact that they're pure evil. These are the cinematic icons that appeal to you, yes? Well what about hard-edged bookstore manager and idealistic bookshop owner? What about oddly-principled boyfriend who owns two identical typewriters? What about...uh...Jean Stapleton? She was funny, right?

Look, the point is it doesn't suck and don't judge it just because it's a Hanks/Ryan romantic comedy on par with "Sleepless In Seattle" (Which was a good one too, by the way).

Although, I still prefer the original "Shop Around the Corner" with Jimmy "Not Bow-Legged" Stewart.

Clever!
This is an excellent updated version of "The Little Shop Around The Corner" with anonymous penpals using email instead of the letters used in the original with Jimmy Stewart and Margaret Sullivan. Meg Ryan and Tom Hanks,as always,make a great team. ... Read more

Description

Nominated for eight Oscars in 1986, including Best Picture, and winner of three (Costumes, Art Direction and Adapted Screenplay), A Room with a View is the film that defined Merchant-Ivory as the masters of the romantic period piece.A brilliant adaptation of E.M. Forster?s novel, A Room with a View tells the story of the coming of age of Lucy Honeychurch (Helena Bonham-Carter).Longing to burst free from the repression of British upper class manners and mores, she must wrestle with her inner romantic longings to choose between the passionate George (Julian Sands) and the priggish but socially suitable Cecil (Daniel Day-Lewis).Boasting a brilliant supporting cast, A Room with a View is one of the most romantic of romantic comedies ever filmed. ... Read more

Reviews (114)

Merchant/Ivory bursts onto the scene
One of the most charming films of the last century was this chamber love story. Extremely literate and intelligent, this Victorian story is easily accessible as an extremely well versed John Hughes could easily write the simple boy-meets-girl storyline. Fortunately for us, he was unavailable and the resulting film, made outside the Hollywood Studio system, avoids many current clichés and uses smart character to propel the story. Well, this is a Merchant Ivory film so propel might be too big a word. There films are usually soft character driven stories with a lack of speeding cars, ricocheting bullets or clever profanity. If you can tolerate small, romantic character pieces, this is one of the best. Great performances by Denholm Elliot, Maggie Smith and Judy Dench sturdily support the love triangle of Daniel Day Lewis, Julian Sands and the phenomenal Helena Bonham Carter. With beautiful classical music and nice cinematography, this view is a pleasant one. The DVD has a shaky video transfer and sufficient audio. It offers no extra material.

ELEGANT, THOUGHTFUL, FUNNY...A MASTERPIECE YOU NEED TO OWN!
This exquisite classic of Merchant-Ivory is sensually explores the struggle between the tight exterior of the British upper crust and the seething passion that lurks just beneath in the increasingly powerful middle class. You've seen a movie or two for sure that veer around such themes, but very few films have captured this combination of class struggle and personal liberation any more evocatively!

Our protagonist is a young, passionate and repressed Miss Lucy Honeychurch (Helena Bonham Carter in possibly her best role ever) who exemplifies this unspoken inner-outer conflict. As she struggles between what is expected of her, to marry the effete and obnoxious Cecil Vyse (Daniel Day Lewis in a richly textured performance), and what she really wants, to be with the yearning, romantic George Emerson (a soft and unfocused Julian Sands) Miss Honeychurch must juggle class concerns and personal desires.

As with any Merchant Ivory product, the all-round cast is vivid and intriguing. Maggie Smith never leaves a dull moment in any of her movies, a credo she maintains here as well as Lucy's nervous and confused escort -- for which she received a well deserved Oscar. As George's bewildered and sweet father, the marvellous Denholm Elliot steals every scene in which he appears. Lastly, Simon Callow as the ebullient, robust Reverend Beebe captures all that is good and true about humanity.

A word for the DVD. The cinematography in this movie sparkles, and the DVD does complete justice to Ivory's camera skills -- the shots are so pure you will want to taste the dew resting atop the grass in the sumptuous English gardens.

What a complete movie, full of life, love and hope! Highly recommended for your collections, you'll watch this more than once.

They do not come better than this
James Ivory's "Room With a View" is a tour de force. Adapted by Ruth Prawer Jhabvala from the novel by E.M. Forster, "A Room with a View" is a shining example of Merchant-Ivory's ability to achieve maximum quality and opulence at minimum cost. It shows the life of Lucy Honeychurch starting from Italy, going through England and ending in Italy. This is a thoughtful movie that requires one to understand the standards of England then to realize that it is fighting against the set rigid style of life. This style of life is eternal and can be seen in movies like "Guess who is coming to dinner". Denholm Elliot raises his son to not care about anything but truth and beauty. The acting and screenplay is wonderful. Daniel Day Lewis does a superb job as Cecil. Judy Davis is superb as the novelist, Eleanor Lavish as is Maggie Smith.

Even the humor in the movie is unusual. When the English chaplain in Florence, Mr Eager shows a chapel and mentions, "Remember that this was built by faith in the full fervor of medievalism", it prompts, Mr Emerson to say, "Faith indeed. It simply means that the workers were not paid well." The movie has understated humor that is refreshing compared to the usual slapstick. Scenes were the brother and sister are together are especially funny.

A lot of people found the movie too slow. Well, this is not a cop movie, it requires one to think about what goes underneath each person. The movie is based on one of the special books that breaks down class distinctions, though it is subtle and dignified. I personally felt that this was the best movie of the year and easily bet "Platoon" in its class. A winner of three Academy Awards, "A Room with a View" is not what one could call fast-moving, but fans of the Merchant-Ivory team will enjoy luxuriating in the film's leisurely pace and stimulating cast of characters.

One of my favorite films!
I saw this film when it first came out, in the theater, and it has remained one of my favorite films. It was the first film I bought when I got a VCR. This is one of those elegant Merchant-Ivory productions (which also include Maurice and A Passage to India, other E.M. Forster adaptations to film) that sets the late Victorian/early twentieth century world in upper- to upper-middle class England in such gracious light.

The stars of this film include Helena Bonham Carter as Lucy, the heroine, and Julian Sands as George Emerson, her free-spirited suitor, who shocks everyone by doing such risque things as running around without a jacket, or kissing someone (willing) in a field of poppies. The official suitor of Lucy is the stuffed-shirt Cecil Vyse, whose personality seems like it is jammed in a vise. There are great performances by Judi Dench (as a conventional free-spirit, one who likes to be freespirited but not at the expense of reputation), Rupert Graves, Simon Callow, Denhom Elliot, and an outstanding performance (as always, she just has to walk on the set and the film gets an extra star) by Maggie Smith, as the gossipy and fretting aunt and chaperone to Lucy, who eventually comes round to recognizing and rejoicing in the true love of Lucy and George.

The sets are beautiful, the costumes all very much a part of the period, as are the small touches that make up the style of English society that Forster was trying to expose and celebrate in different ways both at the same time. The music is enchanting, with the glorious opera piece "O Mio Bambino Caro" sung by Kiri te Kanawa.

Are you serious?
I heard such wonderful things about this movie and was really looking forward to seeing it. I had a couple friends over to watch it and out of the four of us I was the only one left awake to see the end. I was so disappointed. The movie was too long and left me feeling cheated at the end. So gald I didnt buy it. Rent it first before buying... ... Read more

Reviews (620)

The Ultimate
2001 is the ultimate cinematic experience. This movie has it all for fans of film. When i say this, I don't mean your casual film goer who thinks "2 fast 2 furious" is an instant classic, I mean those who appreciate film for what it is. For those pop culture movie goers, this film will bore them within five minutes. But, those who appreciate the art of film, will drool over the sheer awe that this movie has.
The story is a little more than simple. It starts in prehistoric africa where Moonwatcher the man-ape and his clan. A mysterious monolith appears and teaches them the use of crude, but usful tools in order to eat. It suddenly jumps (via on of the best jumps cuts ever) inot space in the year 2001 where a monolith has been discovered buried in the moons surface. When it is dug up it sends an ear peircing ringing through all of space, a sort of call letting the worlds know it is time. We then jump to the Jupiter mission in which the main story starts. This is where Hal 9000 makes his first appierence with Dave and Frank. We all should know what happens next.
This movie, released in 1968 but filmed before, was a technological phenomenon. Not even star wars can hold up to the power of 2001. The scene in which Dave enters the monolith could be one of the best in cinema. It is a filmed acid trip pretty much. Except it gave us a look at what other constalations might look like (remember we weren't even on the moon yet).
This is Kubricks best film, and by far and away one of the top five films ever made.

Still a masterpiece
Regardless of how "bored" some (probably adolescent) viewers may become (forced to maintain their attention span over vast minutes of time on something other than sex, car chases and dripping blood), this is obviously a great movie. At least for the rest of us. Rated in the top 250 (#66) at IMDb, and the subject of innumerable articles and reviews, Stanley Kubrick's much studied and admired visual, artistic and thematic masterpiece, based on the novel by Arthur C. Clarke, is still--remarkably, after all these years--a mesmerizing motion picture experience even on a television screen.

This is no mean accomplishment when you realize that Kubrick made his film before humans actually walked on the moon in 1969, and furthermore, when you consider how much more we now know about space travel and how much more advanced special effects have become. What I think contemporary movie makers might learn from Kubrick's work is (1) special effects without rhyme or reason may titillate first time viewers and the very young, but quickly grow meaningless; and (2) even in a movie that relies heavily upon special effects and ideas--which 2001: A Space Odyssey certainly does--it helps a whole lot to have a story to tell.

The story begins in the prehistory and ends in the future. It begins with a pre-human consciousness and ends in mystery. (Note that the last sequence in the movie is labeled in part as being "beyond the infinite"--whatever that metaphysical notion may mean.) Along the way we have a creditable hero (Astronaut Dave Bowman played by Keir Dullea, whom I also recall from David and Lisa, 1962) and a very cold and merciless villain (HAL 9000, the computer as megalomaniac--apparently his makers never heard of Issac Asimov's rules for robots!).

Today we know more about pre-humans and more about computers, artificial intelligence and space exploration, and with such knowledge today's movie makers would avoid some of Kubrick's mistakes. For example, the space craft was far too roomy (ask the astronauts!). Real space ships must be as small as possible to save fuel and they are incredibly cramped. Also, the year 2001 has come and passed, and we are nowhere near the practical capability of providing artificial gravity in space. And of course computers (or robots) don't have emotions unless such emotions are built or programmed into them.

Yet the visual sense of space and the terrible isolation of being alone in the vast vacuum has never been conveyed so well. Using music synchronized with visual effects laden with meaning for our earth-bound minds and bodies, Kubrick managed to depict the Pythagorean "music of the spheres" in a most splendiferous and awe-inspiring way.

However, the opening sequence with the hairy apes is probably what Kubrick would most like to redo if he had the opportunity. In the first place, the terrain, which is semi-arid, is all wrong. No hairy, long-armed, bent-legged creature would occupy such a landscape. The "foraging" they were supposed to be doing was ludicrous since there was obviously next to nothing to forage. The tapirs (forest-dwelling animals native to South America and Southeast Asia, by the way, and not to the savannas of Africa, which should have been the terrain depicted) were almost comedically fat for the ecosystem. And the apes themselves, looking and acting a lot like chimpanzees (no doubt the model that Kubrick used), are in conflict with the fossil record as we know it. Our primordial ancestors, the australopithecines, were upright walking apes and probably not exceedingly hairy since they needed to sweat as they walked and ran over the savannas and grasslands of East Africa.

As for using bones as weapons, yes, there can be little doubt that that is what our ancestors learned to do, followed by using hard wood and stones and then shaped stones. And the idea that a bone tool is a proto-type for all the tools to come is also correct, most saliently in the form of the space ship and HAL.

An interpretation of the ending would necessarily include the idea of time as being something other than we think it is. We see Dave as an astronaut in his thirties, and then as a middle-aged man dining in something like a very expensive Parisian apartment, and then on his death bed, and finally as a soon-to-be-born fetus returning to earth. I think it was wise of Kubrick not to attempt to explain what he clearly points to as unexplainable, as "beyond the infinite."

Perhaps the most haunting image of all, at least for me, is the red and yellow "eye" of the HAL 9000 computer as it coldly viewed the two astronauts talking. Therein was expressed, long before it became fashionable, the coming inexorable conflict between us and our machines, between our culture and our biological nature, between natural and artificial intelligence. Never in the history of cinema has that tension been so concisely conveyed as in that scene and in this movie.

See this for Stanley Kubrick, one of the greatest film makers of all time.

the movie that set the standard in sci fi
in 68,this movie was the best sci fi film ever.in it there is this force referred to as the monolith.it shows up at different points in time.finaly,a space crew goes to check it out.it is too intellectual for children.stanley kubrik directs so you know-since hes the greatest directer ever and all-that this movie is a classic!it is better than the sequel.thinkers will like it.in 68 there wasnt a computer paranoia like today.in this film,kubrik explores what would happen if the computer decided to just take the hell over.an idea not toyed with for years to come.he was a visionary.the music in it is very good too.for you wrestling fans,ric flairs theme song begins it.an abselute must for sci fi fans.

One of the greatest sci-fi movies ever made.
This was a brilliant movie. It never ceased to make interesting theories concerning life other than ours, whether or not we should be in space, and how exploration of the ether will affect our lives.

The film opens up with pre-historic man. They are shaggy, ape-like creatures who fight in loud blasts of sound, calls, etc. But at one point, they discover an immense slab of rock that is so finely crafted, they conclude it was made by "something." And with that, they discover they can use left-over bones as weapons, furthering their standing on the planet.

That is the not only the opening for the film itself, but also for its mood and thesis. It makes the case that knowledge of greater beings will propel us into greatness ourselves, using advanced artifacts as motivation and example. But the movie will eventually take a darker turn you'll have to explore for yourselves. If I went into any of the symbolism, I would be writing an essay, not a review, and could potentially ruin your experience.

As a film, it is not traditional by any means. I've heard of people walking out at the premier muttering furiously about how there was no story, or that they had no idea what Kubrick was trying to say and that his obsession with imagery and perfection led to the demise of what could have been a masterpiece. But to those who stayed and to those who see it now, it is apparent Kubrick meant to be challenging and intelligent: this is not for the light-hearted or the impatient. For instance, many of the sequences are realistically slow, such as an early docking sequence. But the images are so engrossing, I doubt you'll turn away.

And to top off Kubrick's obvious genius, there is an unforgettable soundtrack of famous classical music that complements the imagery so well, Kubrick left it in over an underscore that was being prepared. It often conveys the mood very well, expressing wonderment, curiosity and fright with incredible power. If you can't take the movie, if you can't take its themes and its slow-moving plot, if you can't take the sparse dialog (this is essentially a silent movie), at least sit back, close your eyes and watch the film through the tones and moods the music evokes: it matches Kubrick's imagination with every moment from the opening shot of an orb to the end shot of a star-child floating among the nebular and the giant.

Quick-Buck artists ruin a classic.
The video detail and special effects are great. The aspect ratio is good, but the sound track has been trashed. No bass, garbled treble and a dolby 5.1 remastering that sounds as if it was recorded off a small radio in another room. The producers of this remake should be ashamed. The original sound track would blow you away. I was very dissapointed to say the least. What a waste! I wish I could talk to their sound people. ... Read more

Reviews (139)

Peckinpah's ode to the closing of the American West.....
It would be impossible for film fans to have a conversation about controversial movies throughout the years, and for the epic western, "The Wild Bunch" not to get a solid mention.

Since I first saw this film over twenty years ago, I have owned numerous versions on VHS and laser disc, and it is particularly satisfying to finally have the restored directors version, with the accompanying documentary "The Wild Bunch : An album in montage" available on DVD in true widescreen format.

Sam Peckinpah's blood and thunder tale of outlaws on the Texas/Mexican border with their own set of unique morals has been such a dynamic influence on many directors and future films since it's release way back in 1969. But what sets "The Wild Bunch" apart from it's many imitators is it's deep, almost mythical storytelling, the complex moral nature of the characters peopling the tale and the gritty passion & energy that Peckinpah infused into the entire production. William Holden and Ernest Borgnine are simply tremendous as Pike & Dutch, the leaders of the Bunch...each man with his own individuality. Ben Johnson & Warren Oates portray the crazy Gorch Brothers, Jaime Sanchez is the arrogant and fiercely partiotic Mexican, Angel...and Edmond O'Brien is the grizzly, old timer Sykes.

Additionally, Peckinpah's film features Emilio Fernandez as the bloated, evil dictator Mapache...Albert Dekker as the manipulative and remorseless railroad man, Harrigan....and Robert Ryan putting in another one of his strong performances as the ex-gang member turned reluctant bounty hunter, Deke Thornton. And a Peckinpah movie almost wouldn't be complete without the appearance of LQ Jones and Strother Martin as a pair of filthy, grave robbing bounty hunters out for the reward on the heads of the Wild Bunch.

The Wild Bunch pulls no punches in it's tale of desperado's who they themselves are desperately running out of time...as Holden reflects in the film "We've got to start thinking beyond our guns...those days are closing fast". Whilst "The Wild Bunch" is most notorious for it's two bloody shootouts that book end the film's 144 minute running time...there is so much excitement, passion, adventure and personal conflict within the movie that can be found upon each repeated viewing of this stunning work.

A film that can be treasured and enjoyed by any true film fan....The Wild Bunch will be continually looked upon as one of the most important contributions to American cinema.

Director's cut not needed, but great moments still abundant
The Wild Bunch is, without a doubt, one of the greatest westerns that has ever been thought up, but it is also quite controversial. The romantic view of the Old West is shattered in this 1969 film; no sign of John Wayne anywhere, and most of the cliches found in a typical western are nonexistant(not that I dislike typical western movies, they're actually quite entertaining). Sam Peckinpah, a master of improvisation, creates an unforgettable movie that is not only responsible for redefining cinematic violence, but also carries with it an engrossing story of friendship, betrayal, and the dying west. I didn't feel a Director's cut was needed for this film though, because the original version moved at such a lightning-fast pace. The restored scenes may interest some viewers, but I just wasn't interested. That is probably why I don't own this version of the movie. I'd prefer that other Sam Peckinpah flicks be restored, preferrably Major Dundee. Besides that, the DVD still captures all the explosive action and catchy dialogue. I particularly enjoyed the presentation of the credits, and Jerry Fielding's music adds to the realistic atmosphere, and that's not a bad thing. If you're looking for a great action flick with a plot, The Wild Bunch is a winner for a weekend rental, but RENT this version before you buy it.

One of the best westerns of all-time
The Wild Bunch-Restored Director's Cut is one of the best westerns ever made and also one of the best movies ever. In 1913 during the Mexican Revolution, times are changing as the Old West disappears into oblivion. After a botched robbery in the town of Starbuck, the Wild Bunch, a gang of aging outlaws must decide what their next move is. The remaining members of the gang decide to head south into Mexico where their services may be needed. The bunch robs a gun shipment for a Mexican general, hoping this will be their last job. At the same time, a posse is hunting them down with a former gang member at the posse's head. While this movie is most well known for its violence, it is ultimately a story about honor among men in a changing time. Knowing that the world they knew is changing, the bunch has to try and survive as their end closes in. Nonetheless, director Sam Peckinpah knows how to construct an action sequence. The Battle of Bloody Porch is a balletic, slow-motion, masterpiece of blood and guts as the Wild Bunch meets their end. Just as good is their final march through the streets knowing what awaits them. One of the best westerns, if not the best, ever made and highly recommended.

What makes this movie special, along with the groundbreaking filmmaking of Sam Peckinpah, is the cast. The whole cast gives excellent performances. William Holden stars as Pike Bishop, the leader of the Wild Bunch who knows time is running out for the bunch. His right hand man, Dutch Engstrom, is played by Ernest Borgnine in a perfect part for him. Robert Ryan plays Deke Thornton, a former member of the Wild Bunch and the unwilling leader of the posses following the gang. The rest of the gang includes Edmond O'Brien as Freddie Sykes, Warren Oates and Ben Johnson as brothers Lyle and Tector Gorch, and Jaime Sanchez as Angel. Emilio Fernandez plays Mapache, the Mexican general who pays the bunch to steal a shipment of guns. Strother Martin and L.Q. Jones are great as Coffer and TC, members of the posse. What is surprising about these characters is that as despicable as they are, they are still likable. The Restored Director's Cut DVD includes about ten minutes cut from the original version, a theatrical trailer, production notes, an excellent making of documentary, "The Wild Bunch: An Album in Montage", and a great-looking widescreen presentation. For a great western with incredible gunfights, a terrific cast, and a great story, check out the truly classic western, The Wild Bunch!

NOT ONE OF YOUR GRANDPA'S WESTERNS.
"The Wild Bunch" is not the typical western that tells the story of a bunch of good ol' cowboys versus the mean ol' Indians, this movie goes beyond the cliches of the earlier westerns, so in some way "The Wild Bunch" resembles more to a Spaghetti Western than a John Wayne-versus-the-indians western.

Sam Peckinpah took two steps forward the use of violence in the movies, he show the world how to use violence in a movie to produce visual art. Of course, some might complain about the cruel scenes in "The Wild Bunch", but open minded people know that the violence in the movies is not even close to the cruelty of the real world violence, plus, the violence in a movie can produce visual art if it's used in the right way, like Sam Peckinpah or Sergio Leone did in their movies.

"The Wild Bunch" has an excellent cast: the always efficient William Holden and Ernest Borgnine plus a great supporting cast that includes names like Robert Ryan, Warren Oates and Emilio Fernández. Also, the director Sam Peckinpah gave importance to each character, and that contributed to form a solid story. The cinematography is spectacular, "The Wild Bunch" has a lot of impressive camera angles that show the cruelty of the bullets and explosions, and the movie has some of the most impressive scenes ever put to film.

"The Wild Bunch" is in a very selected group of westerns. That list includes movies like "High Noon". "The Searchers", "Stagecoach", "The Good, The Bad And The Ugly" and "Once Upon A Time In The West", among few others. That list includes the best westerns, and "The Wild Bunch" belongs in the list.

A Grand Finale to the Old West - An American Classic
This is simply a rich, masterful, nostalgic story of the Old West, in all of its fading glory.

The charaters too, are fading in their own time - pursued relentlessly by forces reshaping the country, lives and landscape they ravaged, shared, and loved.

A long-in-the-tooth band of outlaws set out on one last job - to lighten the rich railroad barons of a few sacks of gold. Doublecross meets disaster and they're thrown back on their heels in a narrow escape. Then on to Mexico to trade a stolen shipment of rifles, stolen from under the government's nose, to a Mexican general who is a ruthless hombre in his own right.

Good guys and bad guys change roles and the moral lines of right and wrong shift beneath their feet as they make a last stand for honor among men.

This is a fun, exciting, warm movie which is excellent in every respect. Beautifully filmed, extraordinarily acted, and a terrific story, wonderfully told.

Five stars for a truly American Classic. ... Read more

Reviews (275)

One Super DVD
Faster than a speeding bullet. More powerful than a locomotive. Able to leap the tallest building in a single bound. The world's greatest superhero has finally arrived on DVD with "Superman: The Movie" Special Edition. The film focuses on the young survivor of the doomed world of Krypton. After crash-landing on earth, the young alien is adopted by a caring farm couple and grows up with amazing superhuman abilities. Moving to Metropolis, he uses his incredible powers to protect the people and fight injustice. "Superman- the Movie" is probably the best superhero movie to date. The story is quite entertaining but does lose some strength during the second half though it still manages to preserve its entertainment value. The film contains some great performance by Christopher Reeve, Gene Hackman, Margot Kidder and Marlon Brando as Jor-El. The cast also includes Jackie Cooper, Terence Stamp and Ned Beatty. From daring rescues to superhuman feats of strength, the film contains some impressive action sequence and terrific visual effects.

The DVD honors the Man of Steel like it should. The comic book film is presented in 2.35:1 anamorphic widescreen format. The DVD contains a sharp video transfer and a fine 5.1 Dolby Digital sound with great surround effects. This amazing DVD features an audio commentary with director Richard Donner and consultant Tom Mankiewicz, additional footage including an extended sequence inside Lex Luther's underground gauntlet, behind-the-scenes documentaries, theatrical trailers, deleted scenes and DVD-ROM extras. With such a striking DVD presentation, "Superman" earns an "A".

Super features, super options, JUST PLAIN SUPER!
I enjoyed the Superman DVD. 25 years after this movie came out and seeing it so many times on TV with pan and scan, the newly remastered print blows everything out of the water. The music only option works for the title sequence and hearing the extra tracks on Side B adds to the genius that was John Williams soundtrack.

The audio is remastered and put on a surround sound system instead of the setup I have at home would shake your house to the core. The extra scenes were a good touch as well. Behind the scenes added the great touch of mystique that was Superman. Having Marc McClure host the BTS stuff added a bit of credibility.

Until Spider-Man last year and Batman in 1989, this was the film on which Superheroes were judged. The Hulk disappointed and Daredevil and X-2 were moderate hits.

Superman still stands the test of time, no matter what your views.

Spider-Man has kind of surpassed it...
Well now that we have seen the two Spider-Man movies, I tend to belive that they are now the standards by which other comic book films (both Marvel and DC) will have to live up to now. In a way, Superman is now kind of the odd film out. It works better as an origin story in how Clarke Kent becomes Superman and Chris Reeve's effective perfomance in the title role still works, In the comics, Lex Luthor has always been a one dimensional cartoon character, the only time that he was an effective villian was when Gene Hackman played him in this movie. The final scenes of Superman turning the Earth backward to save lois lane, are what they are. It might be a bit far fetched to put in a movie, but that does not stop audiences from enjoying it. and it doesn't stop me from watching it over and over again.

Born on Krypton, raised by the Kents on Earth, Becomes Hero
The Man of Steel flys into the spectactular motion picture, Based The DC Comic and also appearing in Action Comics, Christopher Reeve stars as Clark Kent.Reporter in Metropolis,Illnois for the newspaper the Daily Planet,And trouble emerges Clark Kent flys to the rescue as Superman, a blue suited red caped powerful wonder. He takes on Lex Luthor played Gene Hackman and falls for Lois Lane played Margot Kidder and Marlon Brand as the Krytonian father of Superman Jor EL. This Film is a Great Superhero movie and great film all around, probably the most imaginative thing the Man of Steel has been in. Superman began as the comic, then a radio show, several 1950s B movies, TV show and in 1978 the true Superman ovie. Superman is imaginative in everthing because hes an imaginative character. A pop culture icon on screen and in everthing else. the Special Effects are incredible, This a Super high flying ride. You Want a good superhero movie before Batman and Spider-Man this is it. If it wasn't for this classic we would'nt have superhero movies like Spider-Man 1&2,Batman,Hulk and X-Men 1&2. Thank Hollywood for making a great superhero film that lauched other superhero films. A thrilling Film of one of the greatest heroes of the 20th century, The Man of Steel, SUPERMAN.

Release Superman into our 21st century!
Very bad film.
They released Spiderman into the 21st century, why not Superman?
I've always found him to be the most appealing comic book character. He is sure for an amazing performance.
RELEASE HIM INTO OUR CENTURY! ... Read more

Reviews (424)

"We can't stay here, this is bat country!"!!!
This movie is a masterpiece, and also very very funny. It is a near perfect adaptation of Hunter S Thompson's novel. The book was based on the true story of a drug crazed self proclaimed doctor of journalism and his sidekick turned loose in Las Vegas to cover a dirt bike race called the mint 400. Thompson, known as Raul Duke (Depp) and his attorney Oscar Zeta Acosta known as Dr.Gonzo (Del Torro) run amok in their desperate search for the American dream. Johnny Depp and Benicio Del Torro are absolutely great in this movie. And the cameos are great: Flea, Lyle Lovett, Gary Busey, Christina Ricci, Tobey Maguire, Ellen Barkin, Cameron Diaz, Steven Schirripa, and even Dr. Thompson himself all make an appearance in the film. Fear and Loathing in Las Vegas is a savage journey into the heart of the American dream. If you haven't seen it, you need too, and fast.....

Extreme entertainment
Prepare yourself for a wild journey into the world of bright lights, flashy people, and non-stop substance abuse. Hunter S. Thompson's book about covering a motorcycle race in Las Vegas through pure "gonzo journalism" has been excellently adapted for the big screen by former Monty Python member Terry Gilliam. The movie stays very true to the story, the product of one of the founding fathers of the drug culture of the 70's. This movie covers both extremes: you will love it or hate it, and it won't allow you to stay anywhere near the middle. People who are interested in the drug culture and beat culture, or even a cynical look at one of America's craziest cities, will probably find themselves enjoying the film immensely, laughing and gasping at the insane antics of a drug-abusing "doctor of journalism" and his attorney. People looking for a more down to Earth experience without the odd visual trip and inexplicable dialogue will only be confused and repulsed, wondering what kind of person enjoys this kind of thing. Johnny Depp's performance is absolutely first-rate, Benicio Del Toro sheds the mediocrity he produced in The Usual Suspects, and cameos by Gary Busey, Cristina Ricci, and Thompson himself add to the perfect blend of acting that make this film one of the best of its kind.

Absolutely Hilarious
This isn't your average movie. Based on the H.S Thompson novel, tt quite succesfully captures the literary insanity of Thompson's books (I'm actually 16, not twelve). Here's the scenario, two stoners running around Las Vegas. All the jokes are based around the wild, outrageous hallucinations of Raul Duke, and his "side kick" Dr. Gonzo. But damned if the many variations of the same basic joke aren't guiltily hilarious every single time. In one scene, Raul and Gonzo are in a bar, When Raul freaks out, thinking that all the bar patrons have been turned into monstrous lizards.
Weird- absolutely Funny- You bet.

It took two viewings to make it through
The first time I started to watch this movie I got a big headache. At my friend's urging I watched it again, and still got a headache. Maybe a little less of a headache, but that's besides the point. It wasn't a headache because the movie's plot made me think, it was a headache because the film was just damn strange.

Offbeat camera angles and dim colored lighting are used throughout the movie. The film quality seemed low and it was hard to understand Johnny Depp's narration at times. The film is very strange in all aspects, including its plot. Hunter S. Thompson (Depp) is supposed to be going to Las Vegas to cover a race in the desert for Sports Illustrated. His lawyer accompanies him on this journey for some reason. They don't really get much reporting done and spend most of the time taking illegal drugs. I kind of lost track of the plot and hardly remember how it ends. Was there even an ending? It seemed kind of like the movie just trailed off.

At one point in the movie they mention something about following the American Dream. Somehow I don't believe the American Dream has anything to do with a suitcase full of illegal drugs. Maybe it was just an attempt to find some rationale behind the entire film.

I'm almost ashamed to admit that I found it hilarious at times. I laughed hysterically when at one point Thompson thinks he's standing in a bog and everyone is a lizard. When I was laughing I kept thinking, this is based on a true story, and now this guy is making money off of it? I felt kind of bad for supporting his drug-induced craziness. However, it's almost kind of an anti-drug movie in it's own strange way. Hunter S. Thompson looks like he's having the worst time of his life, and surely should have been arrested multiple times. I don't know, maybe this movie appeals more to stoners and druggies since they can relate to Thompson.

This film is definitely not for everyone. If you are easily offended, I wouldn't recommend it. If you're looking for a normal movie, you really should be someplace else. Look at the cover of the DVD. The whole movie is kind of like that.

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http://www.filmstatic.com - We take reviewing movies seriously and with an attitude...but not a serious attitude.

Review of the DVD, not the film
First things first: FEAR AND LOATHING IN LAS VEGAS, the film, is quite good. If you can stomach its content, it IS a rather fun drug odyssey with a fair amount of underlying social commentary. Some of it becomes muddled and the reviews were horrible (Ebert gave it 1/4) but I enjoy this more than Terry Gilliam's BRAZIL, to be honest (which, ironically, Ebert also gave a negative review).

THE DVD

An overall wonderful experience. First, the packaging: superb. Criterion is always good at packaging their DVDs and this is one of my favorites. On the inside is an essay by a film critic and two discs. The first has the film, newly remastered under the supervision of Gilliam, along with three commentary tracks: by Gilliam, Depp and Del Toro, and Hunter S. Thompson. Wisely, they had someone interview him most of the time since he's obviously a bit of an oddball and would be prone to sitting there and saying nothing.

The second disc has some extraordinary specials, including an old BBC documentary about Thompson (whose semi-truthful novel this is based upon), TV spots, the theatrical trailer (with optional commentary by Gilliam - which I've never seen before), poster and photo galleries, Hunter Goes to Hollywood (an amusing short documentary about Thompson visiting the set of the film), a selection of somewhat bizarre letters between Depp and Thompson that date back to the pre-and-post-production of the film (Depp reads all of them to the camera for us).

Overall, one of the best DVDs I own. The film isn't a classic, per se, but it IS enjoyable. I'm sure part of my appreciation for it comes from this superb DVD, which is one of the finest I own in terms of special features.

Criterion can sometimes disappoint with single-disc DVDs priced in the $40 range but this one is fairly reasonably priced (compared to some of the others) and packed with special features to whet any die-hard fan's appetite.

A must-buy for fans, and a must-see for others - I wouldn't necessarily recommend it as a blind buy for a number of reasons. It's very selective taste. You love it, or you hate it; it might be good to rent it first. But definitely rent this version, not Universal's. ... Read more

Reviews (108)

BEN KINGSLEY'S FINEST HOUR ON DVD
Richard Attenborough's "Gandhi" is a masterfully told, massively mounted epic motion picture, depicting the life and times of Gandhi, a benevolant crusader for peace, whose shocking assassination rocked the world. Ben Kingsley rightfully took home the Oscar for his subtle but stunning transformation into the title role. WARNING: This is a slow paced movie but well worth the three hour plus investment of your time.
Columbia Tristar has given us a very beautiful print of the film. Colors are rich, bold and vibrant. Contrast levels are good. Although black levels are not always at their darkest, this is relatively forgivable, since most of the film takes place during the day. Shimmering, aliasing and edge enhancement are all present but in extremely minute amounts, leaving one with nothing to do but admire the visual presentation in all of its breathtaking cinematography. The soundtrack is 2.0 surround but well represented. Some of the audio has a tendancy to appear thin or strident but, again, considering its dated fidelity and the source material, it is remarkably well represented. No extras - disappointing for a big time Oscar winner like this. Perhaps we'll get a special edition eventually.

Excellent movie about a 'mover' in this world
Every once in a while this world produces an exceptional human being whose presence makes it a much better place to live in. Such a person was Mahatma Gandhi; the Indian 'radical' whose teachings about non-violent resistance lead to the eventual independence of India from British colonial rule. His teachings have inspired other such movements in the world and his life has been looked up to as a standard which others have tried to emulate.

Every once in a while those responsible for the academy awards have chosen deserving films. This is one of them. Ben Kingsley gives a grand performance as Gandhi, from his youth to his death. The impersonation is spot on; everything from the accent to the gait is so convincing that one could swear Kingsley was Gandhi.

If you are looking for a biography of this man on film, this movie is an excellent source. Condensing Gandhi's life into a few hours is such a great feat, especially when there is so much of this man that could be explored. The movie was filmed in India, with 300,000 extras, so if you like epic films you will definitely enjoy this one. The scenery is authentic and the characters have a reality about them so often lacking in 'hollywood' films. No 'eye-candy' version of a historical event, this is a real movie about a real person.

The DVD extras were ok for a film this old. There is some original newsreel footage which is quite short but still worth watching to see the real Gandhi as he was. Kingsley also gives a talk about how it was being Gandhi, there is also some of the sayings of Gandhi; great candidates for those memorable sayings we all try to memorize to motivate ourselves. All in all a great DVD, the movie is a timeless classic about a great man of the modern world.

Movie does not do justice to the person
Richard Attenborough's movie "Gandhi" was a movie of epic proportion. Mohandas Gandhi was probably the most influential person of modern day India. If one reads any of his biographies or his autobiography, one would find that he was a very complex person. The movie was well directed and showed some of the important parts of the freedom struggle starting from his initiation in South Africa. However, for the sake of marketing, the movie concentrates largely on the european angle and sidetrakes the Indian angle completely.

Gandhi was a person who started a new line of thinking that inspired people like Martin Luther King, Nelson Mandela, and Dalai Lama. He was a complex person who right from childhood was afraid of ghosts and speaking in public. He was a disaster as a lawyer initially. The transformation happened when he saw the injustice happen to him in Pietermaritzburg in South Africa. I wish that the movie had shown the transformation in the person. This was an important catalysis. Most of the people shown in the movie were not important in Gandhi's life, though they were decent actors, such as Candice Bergan and so on. The Indians who associated with him such as Patel, Nehru, Azad and so on are given minor importance.

Some of his important speeches were left out, which are thought provoking. Recently Time magazine had Salman Rushdie write a piece about Gandhi. Granted there is freedom of speech, but I had never seen a more badly written piece about Gandhi than that. Rushdie should stick to fiction - well he is losing his touch in that too. Gandhi had his faults like any human, some of his ideas may not apply in the present day world. But his positives far outweigh his negatives. The sad part is that he is largely forgotten in India itself. Most people in India do not take the trouble to read and know about the real person, what he stood for, his ideals. In fact, I am ashamed to say that South Africa remembers him more than India, even though his is the father of India. Even in the last elections in South Africa, he was used as an icon. However, in India, he is slowly ebbing away.

A soul-conquering fine work of art
Never before have I seen such a powerful work of art. It made me forget the finesse of the technological masterpiece, an advanced Macintosh computer running MacOsX, which delivered the breath-taking scenes in vibrant colors with soul-stirring sound effects. Instead all that stood in my mind was the movie and movie alone. This was a radical change in thought for a person like me who is a avid technology enthusiast. Never before have I been so involved in the scenes of a movie. Every scene and every peice of sound hits the nail right on its head with a powerful strike of the hammer. I must appreciate the dedication of the team and their quest for perfection. Years of their work has produced this masterpiece which mankind can cherish for the eons to come. This certainly is one of the best creations of collective human intellect of superlative degree. The story of the life of a great soul in a soul-conquering work of art.

gandhi-whats the point?
i mean he wasnt that great was he? there are plenty of annorexic people out there. plus its not healthy. throughout that whole movie i was yelling, " GIVE THAT MAN A SANDWICH!" he needs to eat something. I cant tell the difference between mahatma gandhi and paris hilton. in closing WHO LET THE DOGS OUT
WHO WHO WHO WHO.
who let the dogs out-good tune
gandhi-OK flick

i give it ***

GO GANDHI! he is my favorite linebacker in san diego chargers history ... Read more

Reviews (44)

This movie is very intelligent
I liked the plot and the technical twists and turns of this thriller. Robert Redford plays a cia employee who reads books to find possible codes. He finds patterns and trys to break them or alert the Cia to there existence. He comes across something that causes his whole office or team to be wiped out leaving him as the only survivor, because he was out to lunch. How he goes about trying to survive is very intelligent and entertaining. There is a dry romance between he and Dunaway. He is on the run and time is not on hand so there scenes are quick and to the point. I liked the dialogue it was also dry and to the point. It sometimes took a few minutes for it to sink in. A highly intelligent film with good entertainment value. Worth watching.

4 Stars For "Condor"--One for the DVD!
Wire-rimmed glasses and a slight stubble of beard isn't enough to make Robert Redford completely convincing as a bookish CIA researcher, though he gives a terrific "movie star" performance (partially the result of co screenwriter David Rayfiel being brought in to customize some of Redford's dialouge).

Also, Director Sydney Pollack ("Tootsie") doesn't seem to have the feel for suspense-thriller pulp (the way someone like Peckinpah had), so "Three Days of the Condor" is a little too monotone and flat at times to be a completely successful representative of the genre.

No matter.

"Three Days of The Condor" had all the timing in the world going for it.

Released in 1975, just on the heels of Watergate and in the midst of the Church Committee hearings on CIA excesses, "Condor" became the only box office success of Paramount Pictures "Conspiracy Trilogy" (the others being "The Conversation" and Parallax View").

It's also worth noting the cinematography (done by the great Owen Roizman) is spectacular...the rainy Manhattan streets never looked so beautifully moody....and the score by Dave Grusin avoids all the usual thriller movie stabs and sting.

The transfer quality of the DVD is superb, but the special features are non existent (all that's included is the original theatrical trailer--hardly a "special feature" in today's DVD world).

"Three Days of the Condor" remains essentially a stylish artifact of mid-70's paranoia, and viewed today, in light of recent events, contains some really bizarre echoes.

The invisible government! Where?
Whenever I see this movie I always hear Roger Daltry's voice singing, 'can you see the real me?' Which is what a less loquacious Robert Redford tries to do after what may be one of the top ten movie opening scenes of all time, 70's, 80's, 90's or beyond.

Earlier reviews have fairly well constructed and described the plot but what's interesting is the unbelievability of it. Sydney Pollack keeps the heat on and the emotional cul de sacs plentiful as Redford tries to whittle down not so much the who killed all his coworkers but the why.

I believe alongside "Bullit," "French Connection," "Body Heat" and a few others, this is an essential movie both for it's time and our time. In light of Vietnam and Watergate, we just didn't blindly trust Uncle Sam anymore and were frequently reminded of the protest idiom, 'love your country; fear your government.' And for a captivating two hours, Redford is 'everyperson' ever profiled, searched, audited, traffic stopped, drafted and perhaps far worse. We didn't have to read George Orwell to know big brother was and is watching.

Cliff Robertson, a gifted actor denied his peak years because of pseudo-administration influence (do you remember 'Flowers for Algernon/Charley?), ironically plays the government role, as you would expect, brilliantly, and Max Von Sydow, is as always, superlative. I agree with some of the criticism of Faye Dunaway. She did better in other roles than she did here. It could have been Meryl Streep or Glenn Close as well, possibly better.

Essential movie if you want to know what you're talking about. Larry Scantlebury. 5 Stars.

Dated and Often Bizarre Thriller Amusing only to Old People
Like probably most people who were born well after Watergate broke, I became interested in seeing this film after seeing it lumped in numerous times with other paranoid conspiracy thrillers of the era, most notably Coppola's The Conversation and Pakula's The Parallax View. Those are two outstanding films, and Pollack's effort doesn't hold a candle to either. This movie is a disaster. Despite a dynamite opening act and a somewhat intriguing conclusion, together with a modicum of timeliness and poignancy with regard to real-world goings-on at the CIA, the vast majority of the film is spent slogging through dated fight choreography, awkward sex scenes, and some of the most atrocious dialogue ever committed to the silver screen. Faye Dunaway is particularly off-putting in a muted and emotionally confusing performance as a photographer who always blathers on about metaphorical pictures she keeps hidden away and only lets some people see.

Only Cliff Robertson and Max von Sydow escape unscathed from this silly, dated picture, resisting Redford's overacting and turning in fine performances (although Robertson's hair is perhaps the film's greatest mystery). To make matters worse, the soundtrack sounds like pornography, a perfectly awful mix of xylophone and smooth jazz.

For a much better time, please consider The Parallax View. If you have your heart set on Pollack, just watch The Firm, and you'll get the paranoia, the chasing and spying, and the pretty male lead, while what you sacrifice in political overtone you will gain in character development. I really thought I had something special when I took this home to watch it; it began with such promise. Truly it does not compare to the emotional wallop of Gene Hackman's Harry Caul, nor the mind-blowing psychadelic tension of Pakula's government coverups. Of this trio of would-be master Seventies spy storytellers, Sidney Pollack is the odd man out.

GREAT FILM, UNIMPRESIVE POLITICAL VIEWS
Robert Redford made a clunker called "The Way We Were" with Barbra Streisand that desperately tried to explain, apologize for, justify, glorify and approve of being an American Communist during McCarthyism, but just plain fails. He made the 1973 classic "Three Days of the Condor" (1973), with Cliff Robertson and Faye Dunnaway. He plays a CIA reader, a kind of pre-Tom Clancy research guy, a benign fellow among other benign CIA fellows, all of whom are murdered in a fuzzily explained hit by bad CIA fellows. After escaping, Redford tries to get to the bottom of it. Since he is a genius he has the intellectual tools to outwit his chasers. This is the film's highlight, revolving around the sexual tension between Redford and the redoubtable Faye, who he "kidnaps" in order to have a place to hide out, her apartment. The movie goes off the deep when the whole conspiracy turns out to be about the CIA's covert operations in the Middle East, where the U.S. apparently is planning the invasion (that never actually occurred) to take over OPEC. The message is that The Company murders innocents, the U.S. is a warmongering empire, and tool of capitalist greed. It is Redford's answer to Guatemala, Iran and Chile, where the people killed were generally Communists. Redford would rather show the CIA killing Chinese- and African-Americans and other non-threats.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
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Reviews (53)

A lesser known Hitchock that can surprise.......
I love "Rear Window" and "To Catch A Thief," which are two of the three movies that Grace Kelly and Alfred Hitchock collaborated on. But I had always heard "Dial M For Murder," the first of the three Grace starred in for the director, was a dissapointing film, so it took a long time for me to get around to watch it. I finally rented it a few months ago, and WOW! I find it's a great film, and I loved it! Grace was beautiful as always, and Ray Milland did an excellent job as the "villain" of the film. The plot was engrossing, and did I mention Grace Kelly was beautiful? But be warned, "Murder" is a psychological mystery, and a dialogue movie. It has little action, other than the murder attempt itself. So if you are looking for a typical twisty, sit-on-the-edge-of-your-seat Hitchock suspense film, its probably best that you look for "Vertigo," "Rear Window" or "North by Northwest" instead. But give "Dial M For Murder" a chance, and be ready to enjoy a great film, definitely deserving of a five star rating!

Superior Hitchcock with an enchanting Grace Kelly
This is a fine example of the kind of mystery that little old ladies from Pasadena (or Russell Square) adore. Perhaps Arsenic and Old Lace (1944) starring Cary Grant might be comparable in its genteel and bloodless ability to glue us to the screen.

This is certainly one of Hitchcock's best, but most of the credit must go to a devilishly clever play written by Frederick Knott from which he adapted the screenplay. (He also wrote the play upon which Wait Until Dark (1967) starring Audrey Hepburn was based.) Hitchcock does a good job in not tinkering unnecessarily with the material. He also has the exquisitely beautiful Grace Kelly to play the part of Margot Wendice.

Ray Milland plays, with a kind of high-toned Brit panache, her diabolical husband, Tony Wendice, a one-time tennis star who married mostly for security. John Williams is the prim and proper Chief Inspector Hubbard. He lends to the part a bit of Sherlock Holmesian flair. One especially liked his taking a moment to comb his mustache after the case is solved. Robert Cummings, unfortunately plays Margot's American boyfriend as inventively as a sawhorse. For those of you who might have blinked, Hitchcock makes his traditional appearance in the photo on the wall from Tony Wendice's undergraduate days.

The fulcrum of the plot is the latchkey. It is the clue that (literally) unlocks the mystery. There is a modernized redoing of this movie called A Perfect Murder (1998) starring Michael Douglas and Gwyneth Paltrow in which a similar business with latchkeys is employed. I am not very good with clues so it was only after seeing that movie and Dial M for Murder for the second time that I finally understood what happened. Follow the latchkey!

Of course I was too distracted by Grace Kelly to fully appreciate such intricacies. I found myself struck with the ironic notion that anyone, even a cuckolded husband, might want to kill Grace Kelly or that a jury might find her guilty of anything! She remains in my psyche America's fairytale princess who quit Hollywood at the height of her popularity after only five years and eleven movies to become a real princess by marrying Prince Rainier of Monaco. Something was lost there, and something was gained. She was in essence the original Jackie Kennedy Onassis. I think, however, that the old saw about the man who marries for money, earning it, might apply to American princesses as well.

At any rate, Grace Kelly's cool and sublime bearing was on fine display here. Hitchcock cloths her in discreet nightgowns and fitted (but certainly not clinging) dresses that show off her delicate figure and her exquisite arms and hint coyly at her subtle sexuality. She was 25-years-old, stunningly beautiful, and in full confidence of her ability as an actress. She had just finished starring opposite James Stewart in another splendid Hitchcock one-room mystery, Rear Window (1954), and was about to make The Country Girl (1954) with Bing Crosby for which she would win an Oscar for Best Actress.

So see this for Grace Kelly who makes Gwyneth Paltrow (whom I adore) look downright gawky, and for Ray Milland whose urbane scheming seems a layer or two of hell removed from Michael Douglas's evil manipulations.

By the way, the "original theatrical trailer" preceding these Warner Brothers Classic videos is what we used to call the "Coming Attractions"--that is, clips directly from the movie and a promo. You might want to fast forward to the movie itself.

At Last!!!
I have been one of the many people who have sent in, demanding that this DVD be released and now it is! This is a great Hitchcock thriller and most of his films are on DVD, so why not this one. At Last!!!

Hitchcock Timeout
According to the director himself and no less an authority than Grace Kelly, Alfred Hitchcock directed this filmed stage play purely to kill time while readying his next picture "Rear Window." He was completely disinterested in the plot - (and no wonder) - a stupid theatrical concoction about misplaced keys and a bungled murder scheme. He found time however to fall in love with Kelly and tried to wardrobize her, something he would put in the movie "Vertigo" five years later. "Dial M" is watchable primarily because of the suave performances of Ray Milland and John Williams.

Interesting movie!
This is a great Alfred Hitchcock movie. It's one that is even better the second time you see it.

Now, about the DVD, does anyone know what the difference is between this one, and the other "Dial M for Murder" DVD that isn't released yet?? I was confused by that...

Please respond if you can help! ... Read more

Reviews (216)