Description

In this unrelenting action masterpiece from director John Carpenter (Halloween, Escape from New York), a police station under siege from a vicious street gang becomes a cataclysmic battleground where only the strongest survive! Inspired by Howard Hawks' immortal western, Rio Bravo, this explosive gem from one of cinema's great frightmasters has been newly remastered with a host of high-powered extras! ... Read more

Reviews (51)

One of the Top Independent Films Ever
Being a fanatic of John Carpenter, specifically the Halloween series, hearing about this movie made me eager to check it out. I read the raving reviews here on Amazon dot com and decided to take a slight risk and purchase the DVD. Well, I sure was blown away. Movies now a days are never made like this, especially in the way that the characters act. The portrayol of the evil gang members is superb along with the portrayol of the "good guys" in the movie, one in particular being Austin Stoker who plays the main role. This movie is action packed and many parts will leave you shocked. The soundtrack is another great aspect of this film, and way ahead of it's time considering that this movie was made in the 70's. The special features include a very comical interview with Carpenter and Stoker done very recently where some lucky fans got to ask the pair questions regarding this movie along with asking about other John Carpenter classics. Assault on Precinct 13 proves that John Carpenter can make a masterpiece out of a budget no matter how high or low that it is. If you like any work that Carpenter has done then I highly reccomend this film. This is only the second movie he released, but it's deffinatley one of his best.

Lucky 13
Before he scared the heck out of us with the original Halloween, director John Carpenter tried his hand at the action genre, with Assault On Precinct 13. Like Halloween, this movie was made on a shooestring budget, but doesn't let that stop it from being darn good.

A vicious Los Angeles gang called Street Thunder takes over an all but abandoned police station. This, as a group of convicts are being transnsported, awaiting time on death row. Now, a handful of cops must join forces with these criminals, to survive the seige.

The action comes fast and furious. Carpenter makes the most of limited sets and really goes all out. The tension of the film is sustained throughout and played in favor of any real character development. Of course, the infamous, anti-establishment cynacism that Carpenter is known for is ever present. The movie is really like a modern day-in the 70's at least-western. Most of the characters are a tough hombre`s. Strong performances by Austin Stoker as Bishop, Darwin Joston as Wilson, Martin West as Lawson, Tony Burton as Wells, and Laurie Zimmer as Leigh, highlight the film. The climax rivals most gunplay scenes in any of the more recent actioners. Assault is dsated only by its wardrobe and hairstyles but holds up rather well--just the same.

The special edition DVD has a fair amount of bonus material. Most of which, will provide enjoyable insight, into how it all came together. Carpenter provides another straight forward audio commentary for the film. He is low key about it all--but quite candid. The "new" video Q&A with Carpenter and star Austin Stoker at the American Cinematheque is also well done. I wish there could have been a few more participants though. The music score, written by Carpenter is a real treat and it's cool to have it isolated. Both behind the scenes stills and lobby card galleries are here, as is the theatrical trailer, and a couple of radio spots. Not bad if you ask me...

Assault On Precinct 13 may not be my favorite Carpenter film. But it's still worth a look, especially for those keen on the action genre

Before you see the Remake make sure you see the original 1st
Yes it is being remade for release in 2005! But before you go out and see that you MUST see the original. Carpenter's 1st studio film!
Based on Howard Hawks Rio Bravo, it tells the story of a police precinct under siege, where Police and prisoners have to fight side by side in order to survive. Great acting by Austin Stoker and Darwin Joston. Excellent direction and music by John Carpenter. Not to be missed!

A cult action classic from John Carpenter!
A police station in L.A. called Precinct 13 has two police officers, two women and two convicts including a traumatized victim are being trapped by street gangs who are surrounding the place making it a living hell for them. They have to find a way to get out, defend themselves and make those devils go away.

An intense, exciting, gripping action drama classic from John Carpenter which happens to be his second movie after "Dark Star". This movie offers loads of action, brutal violence including a on screen child murder, gunfire, an interesting storyline and cool music by Carpenter.

This movie became a cult classic over the years yet still has a strong following including being one of the greatest action movies in movie history. The DVD here is a nice special edition with great transfer, and cool extras like Poster-and-still gallery, trailer, radio spots and interviews, if you love John Carpenter and action movies then add this to your collection.

There is going to be a big budget remake due out next year with Ethan Hawke, Ja Rule, Lawrence Fishburne, Brian Deheney and John Leguizomo.

Also recommended: Die Hard, Night of the Living Dead, Dawn of the Dead, From Dusk Till Dawn, The Rock, Con Air, Shaft, The Siege, The Peacemaker, Lethal Weapon, Scarface, Commmando, Passenger 57.

Killer movie, but even better, AWESOME music soundtrack
after everything's been said or written about this movie, that's the one part I felt I must highlight; the music for this movie was credited to Carpenter, and in the DVD format, it just rocks, just gives the speakers a serious workout. For a 1970s movie, or for any decade, for that matter, it's awesome. ... Read more

Reviews (86)

So-so action film...
I've never watched the original Shaft, so I have nothing to base this remake on. It's not a very serious action film. Jeffrey Wright and Busta Rhymes providing most of the comic relief. It is interesting to note that Richard Rountree (the original shaft) and Gordon Parks (the original director) played parts in this film.

After watching this film, I can say I don't mind it. I've seen a lot worse, and I've seen better. Atleast with this film, you have Samuel Jackson playing another cool, suave character. It's too bad Venessa William didn't play a more integral part to the story. I would've liked to see a better dynamism between the two. But then again Shaft has always been a lone-ranger of sorts.

This is not a plot-heavy story. It's about a rich kid that murders an African American, but this crime is witnessed by a waitress who goes into hiding after being threatened. Shaft is disheartened by the inadequacy of the system and decides to investigate on his own. Like I said, not plot-heavy.

LEAP rating (each out of 5):
============================
L (Language) - 3 (nothing special, except for Jeff Wright's almost incomprehensible speech)
E (Erotica) - 1 (opening sequence and a good kiss scene)
A (Action) - 3.5 (unapologetic killings)
P (Plot) - 2 (simple plot)

This film should have gotten the "shaft"
"Shaft" (2000)

Shaft's (Richard Roundtree) nephew, also last-named Shaft (Samuel L. Jackson), is the star in this movie. But it is nothing like the original starring Roundtree and directed by Gordon Parks (although both of them make cameos in this film). The first "Shaft" was a blaxploitation flick and is a classic. This movie, directed by John Singleton, seems less black, more made-for-Hollywood. The plot is thin and unlike the original, the only love scene to be found is in pieces during the opening credits. And what was Busta Rhymes' purpose? It added nothing to the movie. Sorry, Sam Jackson is a hell of an actor but his Shaft doesn't make me forget about Roundtree's. -EJR

Singleton ruins yet another legend. somebody stop him.......
Samuel L. Jackson in Shaft could have been a great movie. He has the talent and skill to effectively play the role. Unfortunately, he is prevented from doing a giving a good performance because of the weak direction and script by Hack Extrodinare John Singleton. Someone please stop Mr. Singleton Before he directs again.
Singleton's terrible script and direction turns Shaft into a campy over-the top superhero movie instead of an intruigung murder mystery. Most of the characters come off like cartoonish stereotypes instead of real people the way they did in the 1971 original. Shaft fans know he is smart, smooth and clever; he's subtle about the way he does things. He's not a black batman wannabe as depicted in this film. Perhaps Mr. Singleton dreams of doing a Batman movie and thought he could apply those concepts here. He was sadly mistaken.
In the openeing scene he comes off as menacing and threatening, that he scares the witness even more and puts the white racist (Christian Bale) on the offensive by arresting him. A litle subtlety would have helped the story here and made the character more interesting. In the subplot our menacing shaft threatens a neighborhood drug dealer (Geoffrey Rush) and arrests him on some trumped up charges. While in jail the two consipire to find a witness who can finger Bale's character for the murder he committed. Sounds a lot like Batman Returns doesn't it? Just so he can have something to do, Shaft goes on a macho search to find the witness who can help his case. Personally, I think Singleton wanted to have a ton of frames of Sam Jackson looking cool in Armani leather. This goes on until the last act the movie which turns into a great big comic book action sequence chock full of shootings and mayhem. To conclude the story, the scene where Bale's character is coming to court to finally stand trial for his crimes is ripped straight from Mario Van Peebles ending scene of New Jack City.
Singleton wastes yet another opportunity and fails to utilize his cast of talented actors who do their best with his terrible script. Sadly, Gordon Parks, the man who wrote and directed the original Shaft was on set and Singleton did take the opportunity not pick his brain for ideas or even ask him what he was thinking when he set up certain scenes. This film would have been better if Singleton would have done thatn andjust STUDIED the films of this genere and understood the subtle nuances that make them work before starting this project. Then when he understood what made those films work he could then apply those approaches to his work. John Singleton needs to go back to film school. He still has a lot to learn about the craft of moviemaking.

VERY GOOD REMAKE OF THE 1971 CLASSIC
SHAFT'S SAME-NAMED NEPHEW [SAMUEL L. JACKSON] GOES AFTER A DOMINICAN DRUG LORD AND A RACIST SERIAL KILLER. VERY GOOD REMAKE. IT HAS PLENTY OF GOOD ACTION, AN INTERESTING STORY, AND IT HAS GOOD CHARACTERS. THIS IS ACTUALLY NO BETTER OR WORSE THAN THE ORIGINAL. RICHARD ROUNDTREE [WHO PLAYED THE ORIGINAL SHAFT] AND GORDON PARKS, JR. BOTH MAKE APPEARANCES IN THIS MOVIE.

wonderful remake
a great remake with Jackson being the man Shaft. good action with some unexpected turnabouts. Christian Bale is menacing as the racist who kills Mehki Phifer then has to answer to Shaft and Jeffrey Wright is a spectacular badguy as well. a good ride ... Read more

Description

Four Academy Awards(R) including Best Picture! The funny, tender story of a feisty Southern lady and her chauffeur, fueled by the starpower of Jessica Tandy, Morgan Freeman and Dan Aykroyd. ... Read more

Reviews (48)

An Unlikely Pair
This Academy Award winning drama is a touching story about the coexistence of an aging southern woman and her chauffer. Miss Daisy played by Jessica Tandy (Academy Award for Best Actress) is a feisty Jewish woman forced to endure the tragedy of growing older. Her son played by Dan Aykroyd is faced with the dilemma of playing parent to his parent. Morgan Freeman plays Hoke, the black chauffer hired by her son. Set in Atlanta, GA beginning in the late 1940's this film spans 25 years of an unlikely friendship before and during the fight for Civil Rights. A must see classic, this story keeps the audience wondering what will she think of next, and how will he handle it. Skillfully done with everyday events and situations it is certainly deserving of the Best Picture Academy Award.

A Great Tale of an Unlikely Friendship
"Driving Miss Daisy" is one of the best films released in 1989, rightfully winning four Oscars: Best Picture, Best Actress, Best Adapted Screenplay, and Best Makeup. This adaptation of the play version is brilliant. It tells the story, set between 1940's-1960's, of a fiesty elderly woman who's unhappy of growing old. As she meets a man who becomes her driver, the story develops into something special. The combination of stories become increasingly interesting as the two develop a close friendship. Their relationship beats the racist society and the painful past that the man has endured. Through everything, their lives change forever. Her son's frequent visits to her house offer the added entertainment value as it adds to the emotional value. Despite the twenty-five year plot span, the storyline flows smoothly. The warm, loving story offers an unforgettable viewing experience.

Jessica Tandy performs her role as the unhappy elderly woman splendidly. Her every expressed emotion is felt upon audiences. She became the oldest person to win an Oscar, at age 80. Morgan Freeman and Dan Ackroyd's Oscar nominated roles (Best Actor/ Best Supporting Actor) offer the added unique theme to this great film. All other actors also performed wonderfully.

The quality of "Driving Miss Daisy" proves that it's destined to become a classic in the following years. It's sure to continue pleasing audiences for many years to come. Most viewers will have to watch it multiple times to fully understand the movie because of its deep storyline. Afterwards, those who do will be glad they did.

Old Friends.
Lovely is such an old fashioned word, I know. But that's the word that describes this film, for me. The story of the developing friendship over many years between the black chaueffeur and the older Jewish woman is very heartwarming in its simplicity. Jessica Tandy is marvelous as "Miss Daisy" the fiercely independant, irascible widow, whose advancing age requires her son to employ, against her wishes, a driver/companion for her. Miss Tandy, who originated the role of Blanche DuBois on Broadway in "A Streetcar Named Desire", was a wonderful actress. This was one of her last films, and all the skill, sublety, and experience of her life-long craft come together to create a living, breathing "Miss Daisy." Morgan Freeman meets her skill in his portrayal of "Hoag", the accomodating chaueffeur. He has the manner of a certain resignation that an older black man may have felt in the turbulent, prejudiced south in which he lived, yet exudes dignity. He has the manner of "Hoag" down pat, right down to the closed mouth laugh that I have seen in the old black men who hang out on the corner. This is not a caricature, he IS "Hoag." His relationship with Miss Daisy starts out very rocky, to say the least, but, as time passes, their places in each others lives develope into almost a "marriage", with a quiet understanding of, and dependence on, each other. And though Miss Daisy insists she was not prejudiced, and inherently wasn't, it is touching to see her slowly let go of her last universally accepted beliefs of peoples place in society, where the "colored" help were always servants of some sort, and the line was just never crossed. Scenes such as the one where she and "Hoag" are both eating their dinner in the house, she in the dining room, he , alone in the kitchen, express this. The very thought of them dining together, it just wasn't done. As time goes on, and she becomes quietly aware of the similarities of the prejudices against her religion and the prejudices and injustice against Hoags race, the differences that seperate them become insignicant. Dan Akroyd and Patti Lupone are fine as Miss Daisy's son and his typically '50s wife, who admonishes her black maid for the unforgivable sin of forgetting to tell her she was out of coconut for the ambrosia she was serving to her guests... a '50s hostess' nightmare. There are a few moments when their performances threaten to lapse into parody, but one is only aware of this because this is basically a two person play, and the skill and realism of Tandys and Freemans performances just eclipse the others, they are basically props compared to the skill and, yes, sublety of the leads . The exception is Esther Rolle as "Idella" , Miss Daisys black maid. Though her part is small, and her lines few, she manages to convey a resigned dignity also, and her dead-pan delivery of several one liners is very humorous. Miss Daisys affection and respect for Idella is clearly etched upon her face, however, at Idella's funeral. This is just a wonderfully simple, beautiful film. It never treads into being overly sentimental, thanks to the casting of two very special stars. This film took many by surprise by winning the Oscar for best film of the year, proving that a movie with no special effects, and, that actually tells a story, can still move audiences. The final scene, where their years-long friendship comes full circle, will have tears in your eyes, as Miss Daisy conveys the sweet sad wisdom of the old, who know that "all shall soon pass...."

Fascinating, Memorable, Perfect
Not much can be added to the praise of others here, or to the film's enthusiastic reception by the public. I feel that this is one of those rare films that is simply perfect from beginning to end. Even if you don't develop an affection for the characters, and even if you don't care for the story line, it's a stretch to fault this movie in any way. The Special Edition DVD is preferred (not many extras, but those included are worth the effort). After watching my copy 7 times and trying to get really picky with it, I juist can't find anything amiss with Beresford's beautiful production. SO why didn't he win a Director Oscar? Must've been the competition that year, but he certainly deserved to win. Only other disappointment: Freeman nominated, but didn't win. And to think this film was made for less than $6 million, and racked in a fortune and a handful of Oscars!

Freeman and Tandy What a Combo!!
Freeman and Tandy are quite a combo!!

This is a sensitive film that says a lot about humanity.
Compassionate humanism oozes from this movie.
It certainly deserved the Picture of the Year in 1989. ... Read more

Reviews (279)

Honor and Horror
The story of the 54th Massachusetts Infantry is told in a solid and entertaining movie. The casting is brilliant, including the surprisingly good choice of Matthew Broderick, an actor I'm normally indifferent to, who is utterly believable as the scion of a wealthy Boston family who accepts a commission as Colonel in command of the first black regiment in the Civil War. Rounding out the cast are Morgan Freeman and Denzel Washington, the two finest actors of ANY color working in Hollywood these days, and Cary Elwes in easily his best performance since The Princess Bride. If there is anything negative to say about this film, it is in the archetypical nature of several of the characters (I do not know how "fictionalized" the indivdual soldiers are) and a bit of, yes, "glorification" of what ultimately was one of the most horrific and wasteful events in history. But ultimately that is what makes honor and glory: sacrifice for the future. The tragedy should not be forgotten in the glory. So when you see this movie, let your heart swell for the glory and honor, and let your eye weep at the waste of human life.

A Movie for Warmongers and Pacifists alike
The Academy Award winner from 1989 stands out as a monumental film with stunning acting, crisp cinematography and one of the most realistic depictions of the horrors of war ever filmed.

Matthew Broderick is compelling as Robert Gould Shaw, the young and inexperienced commander of the 54th Regiment of Massachusetts, an all-black unit initially deprived of the right to fight but eventually allowed to prove its mettle in a pivotal battle of the Civil War. Morgan Freeman exudes paternal strength and wisdom as the eldest member of the platoon. Andre Braugher, Cary Elwes, Jihmi Kennedy, and a brilliant Denzel Washington (winner of "Best Supporting Actor" Oscar) make this film a genuine classic.

Making small but significant contributions to the film are Jane Alexander as Shaw's mother and veteran Raymond St. Jacques (his last role) as Frederick Douglas.

A further nod of praise goes to James Horner's masterful score. His music, along with the harmonies of the Boys Choir Of Harlem provides as glorious a background as is the inspirational story itself.

A Great American Movie!
This is one of the most historically acurate films about the Civil War. Not only that, it's one of the best acted and best shot movie in many years. Denzel Washington's performance is worth the Oscar he recieved. Matthew Broderick and Morgan Freeman are also exceptional. It's an unforgetable film about an event that changed the course of history.

HOTTTTTTTTTTTTTTTTTTTTT
THIS IS ONE OF THE BEST MOVIES I HAVE EVER SEEN!
Matthew Broderick is AMAZING buy it and you won't be disapointed.

American tragedy
For so long, the image of the Civil War has existed in the collective American mind as a series of sepia-tone Matthew Brady photographs: ghoulish and nightmarish landscapes littered with bodies and body parts. However, with the notable exceptions of his portraits of the field generals, there is a sort of anonymity to the corpses in Brady's works. In one of GONE WITH THE WIND's most powerful scenes, scores upon scores of wounded soldiers lie in the streets, until they appear to be one large, unidentifiable mass of pain--which was the filmmaker's point. Edward Zwick's GLORY was one of the first films to put a human face and individuality to those who fought and died in America's most brutal years. Based upon the true story of Boston's young colonel, Robert Shaw, and his efforts to allow his all African-American outfit (the "54th") to fight on the side of the Union, GLORY is one of those rare films that successfully combines history with movie-making.

Wonderful performances abound in this powerful film: Washington, Broderick, Freeman and Elwes all give their best efforts. But the real star of the show is the camera. The battle sequences, as other reviewers have mentioned, are horrific, as is the scene in the triage tent. (THIS MOVIE IS NOT FOR PEOPLE WITH WEAK STOMACHS.) But the scenes in between, the relatively quiet ones, have as great an impact. I especially have in mind the training sequences. In another director's hands, the scenes in which the troops begin understanding each other, and as the officers begin understanding their troops could have wound up a syrupy mess. Instead, their horrible predicament unites them in an unsentimental, yet sensitive manner. Zwick's camera-work throughout is exemplary, making GLORY one of the best films about America's most tragic episodes. ... Read more

Reviews (20)

Mixed bag or results, but interesting and good!!
My feelings are mixed about this movie. From what I have read in the professional reviews of this movie, the opinions are just as mixed. In sum, it is a movie that will hopefully give one something to think about at its surprising conclusion.

Simply put, THE HUMAN STAIN is pretty much a revampted telling of an old tale that has facinated white audience since forever and opened wounds and insulted some black audiences. But, it stands apart from all its other predecesors out of the Hollywood movie machine in a good way that makes it worth seeing in that it's lead character played by Anthony Hopkins isn't stereotypically sympathetic and has depth. Still, his manipulative, cannibalistic and criminal Hannibal Lector has more integrity than his Coleman Silk.

The great and admirable Anthony Hopkins plays an aging professor with a dark secret who is accused of a racial slur by a student. Through a series of flashbacks, his secret is gradually revealed to the audience--his being a black man passing as white-- as he tells his story to a reporter and begins an affair with a young illiterate janitor on campus, Nicole Kidman. This young woman has a few secrets of her own like a possessive and obsessive husband.

Plotwise, I think the only minor flaw in the story will be that involving Kidman's charater's problems. Only a little, they interrupt the real focus of interest of Hopkins's Silk.

Though another trite tale of the mulatto, at lease the characters are 3 diminional thanks to writing,Hopkin's, Kidman's and the supporting actors performances(e.g. Gary Sinise, Ed Harris and Wentworh Miller--the young black man who plays Hopkins in his youth, and Anna Deavere Smith whose scenes and words to her son the young Silk are not fogettable, even Oscar worthy). Coleman Silk turns his back on his family and people to enjoy all the privileges and power of having white skin. Instead of challeging prejudices, he enforces and caters to the very prejudices that deny him to be treated fairly as a black man.

At the movies conclusion one is forced to asked if anything has really changed for the better in real life. From what I have noticed in popular culture, the media and all the answer is.....

Though the majority of black Americans like the characters played by Wentworth Miller and Anna Deavere Smith are a racially and culturally mixed people regardless of the complexion of skin ,or, whether both parents are black American or one parent is white or whatever, there are still those who will run as far away from being labeled black as they can get and declare themselves as separate but equal instead of challeging old inherited ideas of bigotry. Political correctness has warped into a new mask to hide self-hatred and racism. There are versions of Coleman Silks that still exist today, both dark and fair skinned, in the black community--even other non-black communities. Society still hasn't shed all its prejudices for those it looks upon as having the wrong skin color ,or, set of parents.

MORE WEAKNESSES THAN STRENGTHS -- TOO BAD
The movie tries to tell the story of Coleman Silk, originally a poor kid from1930s East Orange who has remade himself into something else -- College Dean Silk [played by Anthony Hopkins], a brilliant classics professor. But then, a chance comment in class -- actually referring to two of his class cutting students as "spooks" (not knowing that they are African-Amrecans) opens Silk up to charges of racism, and his sudden attraction to a cleaning lady [Nicole Kidman] adds an element of class consciousness as well.

It's a complicated story, presented with lots of flash backs and flash forwards, made more complicated by a secret the film reveals fairly early on. Because what the people accusing Silk of racism don't know is that he himself is black -- and has been successfully "passing" for white, for more than half-a- century.

The movie's scripty wrestles with enormously complicated issues.
THE HUMAN STAIN succeeds, but only partially. Hopkins seems an odd casting choice at first, but he turns out to be ultimately the
right one -- is the stubborn Silk; Nicole Kidman is Faunia, the raw-boned cleaning woman he falls in love with. Robert Benton, of "Kramer vs. Kramer" directs, and novelist and sometime director Nicholas Meyer did the screenplay. One big problem is that how does a very lights sknned black kid born and rasied in New Jersey wind up with an aristocratic British accent? Hmmm?

Audiences fascinated with the issues THE HUMAN STAIN touches upon -- class and sex, race and identity -- are better off searching for material that delves into them deeply. This story is not the Great American Novel but it does boldly confront the great American issues.

The casting, is partly to blame for this fiasco. The unmixable Hopkins and Kidman probably was supposed to produce a big box-office draw. As the priapic Silk, the usually excellent Hopkins is too stiff, lacking the animal charisma to gulp down Viagra to frolic in bed with Faunia. Talk about lack of chemistry. You can more readily imagine her with Harris' certifiable loony character. And the usually excellent characters delivered by Kidman, in this film simply looks too glamerous to be cleaning toilets and milking cows, especially with her porcelain skin and tousled ringlets.

And so, the film overreaches at times, and may not be as powerful as the material deserves. However, THE HUMAN STAIN is not exactly a failure.

Flawed but Interesting
During WWII, millions of Jews whose only crime in the eyes of some where their being
Jewish. Thousands to over millions were sent into concentration camps where few
survived and many were murdered, even the innocent of innocent, the children. Those
Jews who managed to escape did so by fleeing to hopeful safe harbors in other countries,
or, they passed. Far from passing to gain material wealth, power, and a share in the
decadence of the predominant group, these Jews simply sought to survive and see
another day. One cannot help but admire those who spent the rest of their lives,
whenever possible, challenging racism and bigotry and injustice.

The titled character in the HUMAN STAIN is far from being admirable and sympathetic.
Coleman Silk is a black man who chooses to pass as white to enjoy the privileges of
being white. He doesn't care to fight the injustices that deny his people their humanity,
but instead chooses to cater and bow down in honor and the keeping of such injustice
against his own people. Ironically, at the time he passes, those Jews who where unable to
pass were being killed, entire families. Even more ironical, Silk chooses to pass as
Jewish. He turns his back on his family, even after his mother in the movie pleads with
him in what has to be the best emotionally intense moment in the movie. Seemingly
without much conscious to morals, Silk starts his life new as a white man without anyone
ever suspecting him as being anything other than this. He marries a white woman, begins
a career as a college professor, lives the American dream of freedom without roadblocks.
Life is pretty good until his wife dies and two black students accuse him of using a racial
slur against them which is accidental and unintentional, but Silk so long denying his
heritage does not realize the power and mistake of the word he has used. At this point,
his mask begins to fall off and his past comes back to haunt him and it is not forgiving.

The main problem with this film is the way the story is told. The makers would have
done better to tell the story from the perspective of the young Silk instead of the old Silk
who is played by Anthony Hopkins. Moreover, the character played by Nicole Kidman,
who Silk begins a May/December relationship with in the midst of the Clinton sex
scandel with a young intern, seems to pollute the storyline and burden it down. Kidman
plays her part well, as the entire cast is excellent, but her character should have been
exercised from the story on the big screen all together. It is the young Coleman Silk and
his family who are the really interesting characters deserved more time on screen instead
of only being seen in flashback scenes.

The press for this movie was a lesson in the racial divide that is growing in the U.S. The
press took more of an interest in seeing how quick the guy who played young Silk,
Wentworth Miller, would distance himself from being black than they did in the moral
questions raised in the movie or book of the same name by a white man. Sadly, they may
have gotten what they wanted. I hope that I am wrong. I would take great pride in being
wrong!!!!! and offer an apology for the misunderstanding of Miller. Rather than
understanding the diversity of the black American community, that is, that black
Americans are a multi-cultural people whose blood roots extend not just in Africa but
also Europe and even Asia and all those places in between, regardless of the complexion
of skin or of the skin or race of one or both parents--the cause of the huge color spectra
among black Americans and blacks from North America to South America--, and, that
black Americans are a people proud of their ancestry in all its diversity regardless of what
only a handful of extremely bigoted afro-centralist don't want admitted and many white
Americans refuse to take time to learn and understand, the press has played to its own
blind and ignorant liberal bias that divides blacks Americans into dangerous social stratas
of ethnicities. For his part, Miller, who doesn't deny his heritage like he has done in
playing earlier roles in his career until the HUMAN STAIN, has shown a proclivity not
to correct his interviewers and has legitimized their prejudices that the one drop rule of
blood applies to all but a few of black Americans who have one non black American
parent, political correctness at its most perverse and dangerous. Miller doesn't
understand or doesn't want to understand that he is legitimizing racist fallacies.

To those who choose to watch the movie, or even, read the book, keep in mind that the
story is written from the view point of those or one person not in the know to all the
nuances, diversity, complexity, pride, heartache and tragedy, joy, sometimes
embarrassment, anger, struggle, bloodlines, and stories to the black American community
no matter how sympathetic and understanding they claim to be.

It's Stained Alright
What in god's name was Robert Benton thinking? Or Sir Anthony? Or Gary Sinise? Was Ed Harris after the Oscar he was denied last year? This film is a perfect example of a wonderful combination of artists put together & creating a monumental cinematic disaster.. Gary Sinise(narrating here)sounds like he was awakened from a deep sleep, had a microphone shoved in front of him & handed the script to read from. Anthony Hopkins looks like he can't wait for it to be over. I wonder if when he studied acting, he ever thought he'd have to do a scene where he half-heartedly discusses the joys of Viagra. I'm not sure what Nicole Kidman's character was supposed to be...watch her closely..sultry? sexy? femme fatale? I don't think she did either.. This DVD should be free with ANY purchase...Disastrous.....

A man's stormy, unhappy life's journey
This film is certainly enjoyable and worthwhile if you can accept the premise that Anthony Hopkins' character has buried his secret for his entire adult life and now confesses all to his spunky, unlettered lover Faunia [Nicole Kidman]. The movie is told in many flashbacks and will be hard to follow for those who don't pay close attention. Professor Silk's problems at his college that lead to his tribunal before the faculty and subsequent resignation are filled with irony but it doesn't seem that it is Hopkins who bears the insecurity, shame and humiliation of being in denial all his life as much as Wentworth Miller does who plays the younger Coleman Silk. The vignettes tell tragic and unhappy stories but reveal the Silk family as proud and dignified and they are represented by a wonderful cast of talented actors. Hopkins and Kidman, as expected, are great as partners in a May-December affair. ... Read more

Reviews (97)

This has to be the funniest movie that no one ever heard of!
Noises Off is a treasure of a movie buried in the comedy section of the video store. And after viewing it as a chance discovery, I would rank it as one of the funniest movies I've ever seen ' bar none! There is no message, no lingering camera work and precious little plot actually, but the sight gags and interaction of the characters make this movie an absolute laugh riot.

The premise of this film deals with the rehearsals and pre-Broadway tour of a play that aspires to be a classic British sex farce. Michael Caine plays the beleaguered director, with Julie Hagerty as his stage manager, trying to corral a collection of stage and movie actors on both sides of the career loop. Carol Burnett, John Ritter, Christopher Reeve, Denholm Elliott, Marilu Henner and Nicolette Sheridan make up the onstage ensemble, with the able support of Mark Linn-Baker. Throughout early rehearsals and performances the cast conspires with and against each other in matters of romance, revenge and profession expression ' all to hilarious effect.

It all culminates in a fateful performance that we view/hear primarily from backstage as conflicts of love and stage presence boil over in mid-show. It just might be the funniest thing ever filmed that didn't involve the genius of Mel Brooks.

Don't Miss the Original
I'll echo the companion reviews in raves for the film itself and my great delight in replacing my timeworn VHS with a new DVD. But what I'd like to add is that this is a remarkably skillful screen adaptation of the even funnier original stage play. By all means, buy the DVD. And if you like the movie, take pains at all costs to see "Noises Off" on stage.

The startling novelty is that the entire set rotates between scenes to show first the chaotic tech/dress rehearsal from the front, or audience, view, then depicting a subsequent performance, loaded with interpersonal conflicts and amazingly choreographed sight gags and goofs as seen backstage! The last act shifts back to an audience view of an ensuing performance disaster, leaving you to imagine clearly what must be going on behind the set. The title refers both to the scripted off-stage sound effects and the thumps and crashes that signal the hi jinks backstage.

The play is a popular choice for resident theater companies and occasional roadshow productions. Don't miss it!

Backstage exposed
That actors get confused between their real life and their acting on-stage (and backstage) is not quite new, but I never saw it better done than in 'Noises off...'. Above all, I'm more than grateful to the reviewer "archibael", thanks to whom I knew the DVD would be in the original screen format (when it's cropped to full-screen, and especially for good movies, I consider it's a kind of swindle and refrain from buying).

Exit...Stage Everywhere
An oddity of sorts because you have the two actors who played Superman and Captain Avenger in one movie (Christopher Reeve and John Ritter respectively...Ha! Ha! Just kidding! For joke reference, see review for film SPEECHLESS,"...Well Spoken Movie" starring Micheal Keaton, Geena Davis, & Christopher Reeve! by same reviewer from Gilroy,CA)
Anyway, NOISES OFF is different from anything that has been done in film in recent years and is a salute to the art of theatre. A movie farce about a small midwest theatre group putting on a stage farce. The play will tour parts of the U.S. and finally make it to Broadway. It is during a test run on the small theatre circuit that the hilarity begins. Egos and personal differences manifest a literal physical battle among the cast members behind stage during one performance. A classic shot is of a stagehand witnessing the proceedings who shakes his head in comic disgust. However, as true professionals, no matter what happens behind the scenes, the show must go on. The film is very fast, physical and the ensemble cast is excellent. The movie audience sees rehearsals and performances on tour that take the kinks out of the presentation and stage direction finally bringing the cast together. Peter Bogdanovich directs one of his best films to date with Michael Caine, Carol Burnett,John Ritter, Christopher Reeve, Marilu Henner,Denholm Elliot,Mark Linn Baker, Julie Hagarty and trooper Nicollette Sheridan (trooper because she's in her under garments practically the whole movie). This film died at the box office maybe because movie going audiences are not theatre types. This film may not be for all tastes, but it is worth a look especially to see the late John Ritter and a healthy Christopher Reeve in outstanding comedic roles.

A must see. . . over and over!
I have been waiting impatiently for this show to come out on DVD. I can't believe it's not a bestseller. One of the funniest shows I have ever seen! We watch it frequently just to lighten our day. ... Read more

Amazon.com essential video

Taxi Driver is the definitive cinematic portrait of lonelinessand alienation manifested as violence. It is as if director Martin Scorsese andscreenwriter Paul Schrader had tapped into precisely the same source ofpsychological inspiration ("I just knew I had to make this film,"Scorsese would later say), combined with a perfectly timed post-Watergateexpression of personal, political, and societal anxiety. Robert De Niro, as thetortured, ex-Marine cab driver Travis Bickle, made movie history with hischilling performance as one of the most memorably intense and vividly realizedcharacters ever committed to film. Bickle is a self-appointed vigilante who viewshis urban beat as an intolerable cesspool of blighted humanity. He plays guardianangel for a young prostitute (Jodie Foster), but not without violently devastatingconsequences. This masterpiece, which is not for all tastes, is sure to horrify someviewers, but few could deny the film's lasting power and importance. --JeffShannon ... Read more

Reviews (274)

WEAK LOOKING PRINT - POWERFUL FILM!
Travis Bickle (Robert DeNiro) has a big problem - and not just one. He's a seemingly ordinary New York cabbie who's stalking one woman, Betsy (Cybil Shepard) while playing savior to another, Iris (Jodie Foster). But ol' Trav' is just a few coins short of a full meter, a neurotic oversight that will allow him to turn vigilante, threaten the political reelection campaign of Senator Charles Palantine (Leonard Harris) and blow away Iris's pimp/drug dealer (Harvey Keitel). Suffice it to say, "Taxi Driver" is not your feel good movie of the summer. It is a cinematic snapshot of 70s pop culture gone horribly awry, with its crack and whore infested streets, its unstable social setting for easy scores and cheap sex, and a seething underbelly of corruption and dismal isolation as its acrid palette for moral decay. Travis' slow spiral into becoming the loner with a purpose is predicated upon warping the old adage and precedent that one man can make a difference. But when that one man is touched by his own sexual and financial inadequacies, his psychotic inability to bond with another human being and his self delusion - that he is on par with a deity, above the rest of humanity and the law - then the difference he can make is between destroying himself and bringing about the next apocalypse.
Martin Scorsese directs adeptly enough, drawing the viewer into this dark world of unsettling realities. The irony of the ending seems somewhat strained and rather a bit like the happy ending tack on associated with conventional Hollywood wisdom, but there is the frightening prospect that with a return to normalcy, Travis' alter ego is, like many a volcano, merely dormant, not dead, and destined to erupt in the future.

The transfer from Columbia is a rather disappointing remastering effort. There are moments when the color is bold, if dated, and moments when fine detail is generally realized to good effect. But the bulk of this video presentation is riddled with excessive grain - both film and digital, a barrage of compression artifacts, a lot of aliasing, some tiling, and a considerable amount of edge enhancement. Night scenes break apart with pixelization and exhibit a very muddy color scheme. There's plenty of age related dirt and grit to further detract from your viewing experience. The audio has been remastered - but just barely - with low to no bass and a really screechy high end that betrays the original mono elements. Extras include a 70 minute making of documentary with interviews featuring the director and principle cast, a photo montage, still gallery, theatrical trailer and storyboard sequences.

The Perfect Bad-Day at Work Movie
Now first off I should warn people that this is not a movie for all tastes. If the following offends you:

- Graphic, ultrarealistic violence.
- Porn films
- The idea of taking your date to a porn film.
- 12 year old hookers.
- Graphic language involving sex with a 12 year old.
- Graphic language in general.
- Racial slurs

...then don't watch this film.

OK, now that I sound like I'm giving the movie a bad rap, let me continue with the good stuff: this film is the only movie where you root for the depressed psycho stalker. It sounds incredible, but its true. Robert DeNiro's character Travis Bickle is described in the Mystery Science Theater 3000 Colossal Guide as "an ordinary guy with a few problems." Few problems includes not being able to sleep, having a steady job as a taxi driver only because he has too, and dealing with his hatred for the world around him.

He attempts to change things by turning to a young woman working on a presidential campaign. What starts out great turns rotten after Travis tries to make her watch a porn film. Stalking her doesn't work, so he gives up and decides to take his rage on the corrupt New York of the time on some one else. That being the hoodlums toying with Jodie Foster, a 12 year old prostitute. He sets out to save her from life on the street - a one man war on prostituting minors.

Like I said, its the only movie where you cheer for the psycho.

Any way, you might wonder why I rank this "the perfect bad-day at work movie." Thats because it really is. Travis has to deal with customers having sex in the taxi or making him park the vehicle outside a house where they explain on killing some one. Travis doesn't like it, but its the only job he can have at the moment so he has to put up with the horrible conditions. Finally, he breaks free of his torment and gets back at in any way possible.

One night I came back after working an exhaustive 9 hour shift as a clerk for a grocery store. I had had a HORRIBLE day, so when I got home I popped this movie in my DVD player. I tell you, you never see Travis so much a hero as when you've had a horrible day at work and know just how he feels. Even if you feel disgusted by some of his actions, in reality we all have a bit of Travis in us all, and there are times when we all just wanna break out in, "Listen all you f***heads, you screw ups, this is the story of a man who would not take it any more..."

Taxi Driver
To start this off, I'll just say this: Do yourself a favor and buy this fantastic film. If for nothing else, buy it for DeNiro's INCREDIBLE performance! I'm a movie buff myself, and I have never seen such amazing acting. It's a crime he didn't win the oscar. Secondly, it's directed by Martin Scorsese, one of the more brilliant filmmakers of our time, and written by Paul Schrader. This is the team that brought you Raging Bull. When these two geniuses get together, they make pure movie magic. And finally, Jodie Foster. She's only fourteen years old, and beautifully brings to life the child prostitute who is secretly hating the horrible city she lives in. One of the most brilliant touches of filmmaking was made here when Scorsese portrays NYC as hell, such as focusing on the smoke spewing out of the sewers, and making Betsy, Travis Bickle's love, seem like an angel among all the demons.

The story goes something like this: Travis Bickle (Robert DeNiro) Is a taxi driver who can't seem to sleep. He works at night, and the city around him fills him with paranoia, for the gangsters and the slime on the streets at night every day seem to be everywhere. Among all of these demons and devils, Travis sees an angel, a gorgeous woman named Betsy. He immediately falls in love with her, but his anti-social tendencies scare her off when he brings her to a pornographic movie on their second date, thinking it was just like all of the other movies. When she leaves him and won't return any of his phone calls, his depression rises until he meets a child prostitue named Iris (Jodie Foster) and her pimp named Sport (Harvey Keitel). Feeling the deepest sympathy for her, he tries to help her leave that terrible lifestyle, not believing her pleas that she loves her being a prostitute and loves her pimp.

To sum this whole review up, do yourself a favor and watch this great piece of work. See Scorsese's nightmarish vision of NYC, and Travis Bickle's slow descent into insanity.

Taxi Driver - A disturbing experience
After watching the classic 1976 film "Taxi Driver," viewers may be interested in their reaction. It can be depressing. Martin Scorsese directed this open-sore of a film and of his many classic works, this is the one most obsessively analyzed. "Taxi Driver" is such a raw, visceral experience that after viewing its nightmarish terrain one must decompress.

Seedy does not begin to describe the horror of "Taxi Driver," which details a world of pimps, prostitutes, drug addicts and a loner psycho brilliantly portrayed by Robert De Niro. This film established some of the great talents in motion picture history including De Niro, Scorsese, Albert Brooks and Jodie Foster. I wonder about disturbing epics like "Taxi Driver," "A Clockwork Orange," "Straw Dogs" and "Natural Born Killers." Whenever I visit the video store, I notice these films are usually checked out, empty boxes leaning against the shelf. Who's watching these films, and why so often? The films share a common thread in that they have likable actors (De Niro, Malcolm McDowell, Dustin Hoffman, Woody Harrelson) playing despicable men prone to violent rages. Alienated one and all, these characters have become anti-heroes for a world severely lacking in heroes. There are so many ways to view this film, with multiple levels serving as proof to its complicated brilliance. Urban alienation, cultural emptiness, veiled racism, Watergate analogy and Oswald repression are just a few of the metaphorical doors one can open in this nightmare.

De Niro's Bickle is a Vietnam veteran suffering from insomnia. He takes a job as a cab driver to work nights, driving through the most dangerous New York neighborhoods for fares. He becomes infatuated with a beautiful woman (Cybill Shepherd) who works at the campaign office of Palantine. Bickle takes the woman to a porno theater on their first date, and she dumps him immediately. To no one's surprise, Bickle soon begins to stalk her. He purchases a deadly arsenal of hand guns and intensely works out in preparation for his assassination of Palantine (and most likely the woman too). Along the way, Bickle stumbles across a 12-year old prostitute (Foster) whom he befriends. His attempted assassination fails and he walks over to the prostitute's home and kills her pimp (Harvey Keitel), landlord and an unlucky gangster. "Taxi Driver" unbelievably ends with the prostitute having been returned to her parents and Bickle becoming an inner-city folk hero. Shepherd's character tries to make a date with Bickle, but he's now at peace with the inferno around him and drives on disinterested.

This ending has been debated for years. It is so controversial that when the film first ran on television, stations posted warnings stating they did not consider Bickle a hero. They're right. Bickle's a whacked-out cultural icon, granted, but he's no hero. He wants to be a hero, and perhaps the final scene is Bickle at the moment of death dreaming of a happy ending. He's essentially saved the day and rescued a damsel in distress. Bickle was seriously wounded after the shootout, having been shot in the neck. So it could have been a dream sequence, though Scorsese purposefully made it too vague to be entirely sure.

It's clear Bickle wishes to be a cowboy hero in "Taxi Driver," as seen by the boots he wears and the guns he straps on like an inner-city John Wayne. His famously improvised "You talkin' to me?" speech is in fact a line of dialog lifted from the classic 1953 western "Shane." And the final showdown has Bickle taking on three men (outnumbered a la Cooper in "High Noon") in a bloody, ferocious battle that to this day is one of the most violent scenes in history. Bickle, adorned in Mohawk and Army jacket, fires at random. The violence is so sloppy one gets the feeling they are viewing an actual crime scene. There is no music, only the jagged noises of constant screaming and guns blasting within closed-in spaces. While we love the balletic violence of the final shootout in "The Wild Bunch," we turn away from the gore in "Taxi Driver." It's as repellant as reality.

Scorsese's masterpiece is not intended for the young or emotionally disturbed. Bickle is not a hero in a film populated by an army of non-heroes. Still, viewers just might get confused. I know Bickle is crazy, but I feel sorry for him. At times, I even identify with him. And that can be depressing.

classic tag hides amoral and poor film
This film is manipulative and exploitative. It DOES NOT really give you a portrait of what alienation, paranoia and dislocation are really like. It glamourises these things in the worst possible way ie very, very slickly and with a lot of craft and attention to detail. This film belongs in the same dustbin as similarly AMORAL and empty films like Seven, Goodfellas et al that purport to be 'truthful' investigations of the dark and disturbing - they are part of the problem, not the solution ! ... Read more

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A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind--believe it or not--Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall--he's a true gladiator, worthy of his legendary status. Hail the conquering hero! --Mark Englehart ... Read more

Reviews (1484)

Great Action Film
"Gladiator" is a film that should suit all tastes. It is an expertly mounted and eye-filling event; the blood and gore, delivered in split-second imagery (allowing your head to fill in the rest) should satisfy the most blood-thirsty movie goer; and the story is a superb tale of good vs. evil, power vs. honor, and "Might for Right". I was reminded of "Camelot" many times during this film, especially by the almost unrecognizable appearance of Richard Harris as the wise and noble Marcus Aurelis. Joaquin Phoenix gives a bone-chilling performance as the evil and cowardly Commodus, who inherits the title of emperor upon his father's death. But the sole weight of this overwhelming piece rests on the shoulders of the magnificent Russell Crowe. If one doesn't believe in him, then one doesn't believe in this epic costume drama. Kudos to the rest of the cast as well, and hand over heart for the late Oliver Reed. But back to Crowe--he is an actor to contend with. His work in "Gladiator" is a tour de force performance; he very nearly sprays testosterone from the screen. It's what was exactly demanded from him in this role, and he exceeds expectations in that regard.

Gladiator ROCKS!!!
I completely dug this film from beginning to end,and every aspect of it,from the breathtaking cinamatography,the expertly staged battle sequences,and exqusite set-design,to the stellar performances of a top-notch cast,rang true.The film starts with a stunning battle and doesen't let up from the time Maximus says"on my mark,unleash Hell". Do they ever.Russell Crowe is perfect in the lead role,as an expert warrior with a grieving soul and a deep sense of honor and loyalty.It's a true star-making turn,and he oozes rugged charisma from every pore.Equally impressive,but in the exact opposite way,is Juaquin Phoenix as the conniving,decadent,deeply evil Emperor.Also great support from Richard Harris and the late,great Oliver Reed.Director Ridley Scott uses his gift for composition and visual flair to great effect,giving each scene a painterly burnish and unforgettable depth,whether it's the after-life of Maximus' dreams,the bustling,grand sprawl of Rome,the rip-roaring battles of the Coluseum,or the sinister twinkle in the Emporer's eyes.At one point Maximus admonishes the bloodthirsty crowd:"Is this not what you wanted? Are you not entertained?" Indeed we are Russell,very much so.What a great film.

okay
this is a three star movie with a five star dvd. one of the biggest problems with the movie was the first battle. i was expecting braveheart quality but ended with a battle less entertaining than the one in dragonheart. the blurry camera and closeups made it impossible to tell what was happening. if you want to see a movie like this but better, see the last samurai or braveheart.

A Modern Classic of an Old Age
I seldom write reviews for anything, but for a movie like 'Gladiator' I'm willing to make an exception, and gosh if it's worth doing it!!
The movie, by far the best of the year 2000, is not only an award-winning production, but it is also one of the few that I personally enjoy watching again and again and again. Not because it is flawless (at times the storyline is quite predictable) but because it portrays life and death in the Roman Empire in such a way that it really bring those old buildings we all know since childhood (the Coliseum, the Forum, Via Appia, etc) back to life.
And yet it does so not at the expense of the story but through it, from the characters, to the script (they're so many quotables lines from Maximus and Commudus alone to make a CD)...in fact everything in the movie, from the battle in Germanica to the last fight at the Coliseum, is portrayed with realism plus an amazing score lacking in so many movies these days.
The movie of course is not to be seen as "history" in the academic sense but rather as an historical exercise, Holywood style, of one of the most facinating and complex periods of Western History. The attention to the detail is amazing, especially in the opening scene (the battle in Germanica) and the gladiatorial fights. Even most deleted scenes are great in the sense that they allow us to understand the characters a little bit more (Commudus' sword smashing of his father's marble bust is a most see), although they neither add nor take of the story. The casting is superb, with Russell Crow in the main role, Joaquin Phoenix as the Emperor Commudus, along with such legends as Oliver Reed as the freedman slaveholder and Richard Harris as the great Marcus Aurelius.
I'll recomend strongly that anyone who sees this movie shoudl do his/her homework and do a little of reading about Rome, both as a Republic and after, and the huge importance of the entertaining business in her late everyday life (an importance unreached until recent times).
Overall, a classic epic of an scope and ambition not seen since 'Ben Hur'; full of action, drama... and yes, more action.
As the Romans themselves said, Faber est quisque fortunae suae... each one is the architect of his own fortune. Feliciter!

Decent story, captivating effect
Ridley Scott's movie, "Gladiator" is one based on fiction of a General in the times of Marcus Aurelius. It tracks the life of a general who is effective in battle and is to rewarded by the emperor with the crown of Rome until it can be handed back to the senate. The movie won 5 oscars and is compared to Ben-Hur, which is ludicrous. For starters, Ben-Hur had William Wyler as the director who went to Gore Vidal to fix the screenplay. This movie will imaginative has so many historical inaccuracies, it is funny that it can be even thought to be in the same league.

Some of the actors did a decent job, these include Richard Harris as Marcus Aurelius and his daughter, Lucilla. I had problems with Russell Crowe's acting. He is unmistakably patrician, however, and physically very like Richard Burton, with Burton's battered face and gravel-voiced machismo. But Crowe's Maximus is no Mark Antony; there is no destructive love interest in the picture. Maximus is sweetly devoted to his late wife; though it turns out he once had a bit of an unbuckling thing going in his backstory for Commodus's lovely sister Lucilla (Connie Nielsen). I did not think that he deserved the best actor oscar. He has a very limited repertoire of actions and emotions. Crowe is no Tom Hanks or Geoffrey Rush in acting, he does not have depth and breadth of acting.

This movie cannot stand the test of time, it does not have great screenplay and historical integrity. It will gradually ebb away from the minds of the people. To stand out from the other movies, it has to have a new paradigm, either in acting or story or screenplay, none of which are depicted. Another one of those movies that do not deserve the best picture oscars. It is OK to watch this once. If you compare this director with Ang Lee, who did "Crouching Tiger, Hidden Dragon", "Eat, Drink, Man, Woman", and "Sense and Sensibility" you can see the difference in directing talent. See them and judge for yourself. ... Read more

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All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, isa modern-day morality play warning ofthe decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is notfor the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown ... Read more

Reviews (1184)

This Movie is Why "Professional" Critics Must Go
I didn't see this movie in the theaters because it had gotten very mixed reviews from the so-called professional movie reviewers. But, when it hit the local vidoe store, I thought I would give it a try. WOW, what a kick in the teeth, interesting, and fast moving journey into one man's mind. The path this movie takes is fantastic.

Norton and Pitt are perfectly cast, and supported by a crew of fight club members that make for a well-acted show. Meatloaf, Ed Gil, Jared Leto, et. al. are great in support as the members/followers of the leads. Helena Bonham Carter has the only real female role in this film and is perfectly cast. But as much as the acting, this movie is made by the story. Unconventional, with a great twist at the end, the whole movie kept me on the edge of my seat. As with many great movies, it is hard to classify the genre (action, comedy, drama), as there is a sampling of all in this film. In the end, I would just classify this as a great film.

Much was made of the violence of this movie when it first hit the theaters. Those critics overstated the case. There is blood and violence in the movie, but it is not excessive and it serves the plot well.

If you missed this in the theater, see it now. If you saw it once, see it again. I will.

Fight Club-another reason to own a DVD player.
If any DVD was produced on the same level as the Terminator 2 Ultimate Edition and the Toy Story 3-Disc box set, it is this DVD. Fight Club is not only a VERY well produced DVD, but the supplemental material will keep you busy for LITERALLY hours. You will finally have a reason to 'break in' that angle button on your remote. As a story, Fight Club takes a more cerebral approach to ones thought processes. Containing many cool effects, Fight Club may make the average movie viewer pop a few Excedrins while trying to figure out the point of the film. While many may finish the movie in total confusion, mostly everyone will agree that Fight Club is a unique movie experience. When I received the DVD package, I was instantly impressed with the graphic design of the outer package, the discs themselves and the booklet that is included. Initially, this DVD comes off as a "special edition" rather then a simple "movie release on DVD". Whoever created the graphics on the cover and throughout the booklet has a very active imagination. Disc one has the film, disc two has the supplemental material. ** Pause the third FBI WARNING at the beginning of the disc....it is quite funny** Disc one offers you your usual "chapters" choices with 'moving' scenes (like The Matrix), audio setup for Dolby surround for both a 2 speaker setups and 5.1 setups in English and Spanish. This is also a THX certified DVD, so it includes a THX setup screen. Disc one also gives you the choice of several audio commentaries to listen to throughout the film, including David Fincher, Bradd Pitt, Ed Norton, Helena Bonham Carter, the novelist and the screenwriter, the Director of Photography, Visual Effects Supervisor and a couple of others. In a nutshell, you have a choice to listen to A LOT of people, a great addition to this DVD. Picture quality of Fight Club was incredible. Overall, the picture is moody and dark with beautiful blacks and wonderful color detail. It is beautifully photographed with incredible shadow detail and crystal clear highlights. Sound quality was equally impressive. Being THX certified, you can expect nothing less then awesome. Edward Nortons voice-over sounds very live, as though he's sitting right in front of you. The sound has beautiful detail, with stereo separation being impressively realistic and the music and dialogue recorded incredibly well. Surround detail is amazing with some scenes having deep bass that will make the neighbors call the cops. Disc two will stay in your DVD player for a long time. The supplemental material includes crew and cast information. behind the scenes of the production, the visual effects and on-location footage with commentaires and multiple angles.......WOW! Disc two also contains seven deleted scenes as well as trailers, TV spots, music videos, an interview with Edward Norton and a bunch of storyboards, visual effects stills, paintings and many other additions to keep your fingers happy on that remote. The Producers of this DVD should be applauded....not only is the picture and sound quality top-notch, but the graphical elements and the supplemental materials included are fantastic and incredibly entertaining. I highly recommend this DVD for those who enjoyed this movie in the theatre, who are curious about the film, or those simply interested in seeing what a superb DVD release is all about. Enjoy!

Not bad, but...
OK, blend Matrix, Guy Richi, and Osama Bin Laden and you get a masterpiece? A funny comedy, not more. Fight Club is brilliant in the beginning with all that satire, but when it gets philosophical, I felt like I have seen this before.

Famous Fight Club quote.
"F*** Martha Stewart. Martha's polishing the brass on the Titanic; it's all going down, man."

-- She just 5 months in prison and 5 months of home confinement. Isn't it wierd how much of this film has been almost prophetic?

Outstanding commentaries
All the commentaries you could want, and they're all great. The actor's commentary is at least as entertaining as the film. ... Read more

Amazon.com

Digitally remastered with 49 minutes of previously unseen footage, Apocalypse Now Redux is the reference standard of Francis Coppola's 1979 epic. A metaphorical hallucination of the Vietnam War, the film was reconstructed by Coppola and editor Walter Murch to enrich themes and clarify the ending. On that basis Redux is a qualified success, more coherent than the original while inviting the same accusations of directorial excess. The restored "French plantation" sequence adds ghostly resonance to the war's absurdity, and Willard's theft of Colonel Kurtz's beloved surfboard adds welcomed humor to the film's nightmarish upriver journey. An encounter with Playboy Playmates seems superfluous compared to the enhanced interplay between Willard and his ill-fated boat crew, but compensation arrives in the hellish Kurtz compound, where Willard's mission--and the performances of Martin Sheen and Marlon Brando--reach even greater heights of insanity, thus validating Redux as the rightful heir to Coppola's triumphantly rampant ambition. --Jeff Shannon ... Read more

Reviews (244)

Absolutely brilliant
When I watched the original movie 20 years ago I was
very impressed (for all the wrong reasons like Duvall's swaggering Kilgore).
Watching the additional footage in Redux,
I can say I had no idea then what this movie is about, or
it's literary complexities. The Plantation scene is absolutely
brilliant, fundamental to the Heart of Darkness book theme, also
like the end scene where we see Kurtz's copy of the 'Golden Bough'.

It's so easy to sell the violent scenes to the movie audience, but you try to
show a loving scene in the movie the critics will say 'its too drawn out' in
the Plantation scene, or 'cheap' in the Bunny scene. That's the American
psyche still at work today, violence is embraced for over 3 hours,
but 3 minutes of love is way too long. There is no elegance in violence
but the movie love scene always has to be elegant
(like some airbrushed Playboy perfection) , if not, it's tawdry and shameful
to the movie critics.

On a historical note, the film seems to blend the various War
myths of Poshepny's Hmong army, II/47's operation at the Memot
rubber plantation, and SOG's Operation Tailwind. Martin Sheen
wonders aloud in Apocalpyse Now why they really want Kurtz dead.

When I saw the opium scene at the Plantation (US-backed
Warlords ran drug operations near Memot in war time) it seems to me
real-life military operations in the area were designed to keep the trade flourishing.
If the CIA wanted control of the area, an
out of control rogue like Kurtz (Poshepny?), had to go.

The Greatest War Film Ever Made
'Redux' brings to life the greatest war story of this generation in a completely new perspective. Copolla captured the insanity of Veitnam in a way that no other filmaker has. 20+ years since the original was released, I am still engrossed in this film and its story. This is not a film about Veitnam in the traditional sense. If you want that, go see Oliver Stone's Platoon (with all of the typical Oliver Stone sensationalism) or Stanley Kubrick's Full Metal Jacket (which doesn't even look like Veitnam). This is a film about a man's (in)sanity (Captain Willard played by Martin Sheen) delivered through the horror of Veitnam as he pursues the renegade Colnel Kurtz (Brando).

'Redux' adds nearly an hour of extra footage which gives more depth to the already epic film. The French Plantation sequence (nearly 30 minutes long) is the real highlight of the new footage. This is an elaborate series of scenes with completely new faces (including Aurore Clemente). Considering all that went into these scenes, it is difficult to imagine how this was omitted from the final cut of the original. But, in an effort to get the original under 2 1/2 hours, it was cut. The only hint that anyone had of Copolla's mysterious French Plantation Scene was in the 'Hearts of Darkness' documentary released several years ago. The extended sequence of scenes with Kurtz at the end is an additional highlight on 'Redux' along with a haunting new soundtrack.

The story doesn't change, however, and neither does the importance of this epic film. Copolla explores the depravity of one man's mind during the horror of Vietnam. Apocalypse Now takes such a different angle from any other war film of its era. There is no hero in this war, as illustrated by Willard. Copolla nearly lost his own mind (and his fortune) during the filming of Apocalypse Now (see 'Hearts of Darkness'). The result is as magnificent today as it was 20 years ago.

In watching 'Redux', it is difficult to determine when the film was made. The cinematography is unmatched and the attention to detail is witnessed in every scene. This film is a 'must see' and a 'must have' . The only real let down is the absense of any bonus material on the DVD. I would have gladly paid extra for any extras that might have been appropriate.

boring ?!?!
I find that the people complaining about this film have missed the point. Its NOT the theatrical version its NOT platoon its NOT full metal jacket, why are they expecting it to be so? Watch the other films then?!?!? This film is one man's glimpse into hell, in particular, the vietnam war experience. It shows how war and the idea of propaganda of wartime to make the government look good etc while good men die make people go mad. It shows the horror of war. After viewing this film I find in NO way it to be boring. I find the complainers comments to be sad and a reflection on them that they might be boring. This is a brilliant film and was NEVER supposed to be a shoot em up hollywood epic. Going into this expecting lots of action is like going into burger king for a pizza. Cmon folks...get a grip on reality! This film is a mind trip. Plain and simple. See its brilliance for what it is, a NEW version! Director's cut if you will but it's NEVER been seen like this. Its new, its refreshing and the new scenes add some "quirky" aspects but meld together well with the original film. For any fans of the orignal that want the original why go here, click the back button and buy the OTHER version. Nuff said.
Brilliant film, Brilliant acting, Brilliant NEW version. Period.

Comes across as a dark odyssey more than a war film.
PLOT(minus spoilers): We follow five soldiers, led by Sheen's character, as they head out on an assasination mission. The target is a C/O(Brando) who's apparently gone AWOL, having began to slaughter the enemy without orders as well as become a godlike figure in the eyes of many indigenous people in the area, virtually turning them into his warrior slaves. Upon traveling to find the C/O, Sheen becomes strangely intrigued by his military tactics, tactics so swit and terrible that even the VC have become fearful of him. The military, meanwhile, has assured Sheen's character that this commander is indeed insane, but it's the journey up river in which we see......

.... EVERYTHING out on the river is insane. Posts are manned without commanders, officers(Robert Duvall) are more fixated on surfing and Play Boy Playmates than their present battle. During these segments, when we move - almost drift - from scene to scene, we begin to see this Vietnam as something different, something more vague and faintly evil than we could ever had dreamt up. This side of the world has gone mad, as Sheen's character soon begins to see ever more clearly. Even the men accompanying him begin to shift towards the other side of sanity. But don't fret, the way this shift is portrayed is a beautiful thing to witness, as is the irony of their endeavor - that, sent to kill an officer for going crazy, EVERYTHING is also crazy, and the AWOL officer makes perhaps the most sense.

I suppose this film reiterates all we thought we knew about Vietnam, only it happens in a way that both tears and swallows your preconceptions alive, forcing you to dig ever deeper into the madness that surrounded Vietnam.

"The Horror...The Horror"
We have all heard about the difficulties Francis Ford Coppola experienced during the creation of what will be the movie he is most remembered for, 1979's "Apocalypse Now": A typhoon wiped out his sets in Asia. Star Martin Sheen suffered a minor heart attack during filming. Marlon Brando was Marlon Brando. The film's portrayal of war as madness often mirrored the problems involved in filming an epic about America's involvement in the Vietnam conflict. Until "Apocalypse Now Redux" arrived on the scene a year or two ago, we never saw the full cut of the film. Well, "Redux" still doesn't contain everything since Coppola supposedly lensed miles of film stock, but this version contains several brand new sequences as well as extensions of existing scenes not seen in the original. Coppola supposedly stated that his film, "Isn't about the Vietnam War; It IS the Vietnam War." As far as I know, the director never fought in that conflict, so this claim is spurious at best. What you will get from the film, though, is an immersion in the blackest of nightmares through the performances of some of the finest actors in Hollywood. "Apocalypse Now" in any form is a must see picture.

Captain Willard (Martin Sheen) is probably not the best person suited for a top-secret mission. When we first see the man, he is in a hotel room in Saigon slowly going mad, the stresses of war having taken a terrible toll on his mental and physical being. His mission, if he chooses to accept it, is to track down a military officer named Colonel Kurtz (Marlon Brando) and terminate him "with extreme prejudice." It seems the good colonel went insane up in the jungle, built up a mercenary army, began transmitting bizarre rants about snails crawling on the edge of a razor, and thus threatens the American war effort. The high command cannot have an officer carrying out his own warped whims in the bush, so Willard is to go up the Mekong River in a patrol boat and track Kurtz down. The captain accepts the order, obviously, and thus begins a journey into the darkest corners of Vietnam. During the lengthy trip, Willard reads extensively from Kurtz's military files, learning that his target once represented one of America's best and brightest soldiers, a man educated at top universities whose career track was paved with gold. How could such a brilliant man go completely over the edge? Willard tries to figure it all out.

Captain Willard has plenty of time to ponder the enigmatic Kurtz during the trip. The boat sails into one bizarre scene after another, some fraught with peril while others are just plain strange. Willard and the crew briefly spend time with the hyper macho Colonel Kilgore (Robert Duvall), an officer in the Air Cavalry who likes to blare Wagner's "Ride of the Valkyries" over his helicopter gunship's speakers while reducing a Vietcong stronghold to rubble. It is Duvall's character that utters the immortal line "I love the smell of napalm in the morning" as he urges his men to surf the ocean waves in a combat zone. The weirdness doesn't stop here, as Willard and his crew witness a show put on by Playboy Playmates at a riverside supply depot, visit a plantation proudly maintained by a French family, and stumble over an isolated river bridge under constant enemy bombardment defended by American soldiers with no idea who is in charge. The final showdown between Kurtz and Willard is not only the most powerful sequence in the film; it is one of the most intriguing parts of any film ever made.

It is no secret "Apocalypse Now" closely mirrors Joseph Conrad's novella "Heart of Darkness." Too, Coppola's film is so obviously an attempt to show how the war permanently altered America's self-perception that I don't need to spend time discussing that theme. What has always drawn me so deeply into this movie is the acting, of course, but also the "madness" of Colonel Kurtz. Is the rogue officer really insane? By what standards? According to what we saw on the journey up the river, can we call what Kurtz is doing insane? I don't think so. As much as we might cringe at the colonel's "horror and moral terror" speech, anyone with an ounce of sense