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John Boorman's 1985 South American epic never quite gets all of its gears working simultaneously, but it remains an often startling work with an extraordinary performance by the director's own son, Charley Boorman. Powers Boothe plays an American engineer working on a dam project in Brazil. When his young son is seemingly absorbed one day into the dense perils and beauty of the Amazon rain forest, Boothe's character goes on a protracted, 10-year search for him. In the interim, Boorman puts his full storytelling powers to work by characteristically exploring the arcane rhythms and dangers of an indigenous world hidden from ordinary view. Specifically, Boorman leads us into the life of a forest tribe who have assimilated the missing child and who will ultimately send him back with the opposite of his father's pro-development sensibility. The movie is gorgeous to behold, and it's great fun watching Boorman find ever-novel ways of making the same film again and again. But the environmental message and the emotion of the core relationship get in each other's way a bit, preventing the film from uniting on every front. Still, this is a must for Boorman fans. --Tom Keogh ... Read more

Reviews (22)

This is my favorite movie of all time
The beauty and power of the rainforest juxtaposed to the beauty and power of "civilization," on of my favorite themes. Who is the true savage? Powers Boothe plays a construction engineer building a dam in the rainforest that is increasingly changing the structure of the most valuable real estate on earth. Not only is it effecting the plants and animals, creating desert where there was once rich vegetation, but it is affecting the indigenous tribes in horrendous ways. Charley Boorman plays the beautiful young son who is kidnapped by the leader of the "Invisible People." His father and mother (played by the beautiful Meg Foster) spent the next ten years searching for the boy as he is being raised in tribal customs.

Meanwhile, as the living space for the tribes grows increasingly smaller, the "Invisible People," who are basically good hearted, land loving indigenous people who keep to themselves and only want to survive, are increasingly threatened by the "Fierce People," a carnivorous, cannibalistic tribe who are desperately seeking space for themselves.

We watch Tomme grow up, learn from his new "father" who loves him dearly and was perhaps initially attracted to the tyke's golden blond hair and his own need for a son. We watch Tomme go through a ritual rite of passage that sends him on a dangerous quest for the special green rock that allows what are now his people to become "Invisible." It is in this quest that Tomme and his father cross paths again, and a lesson is learned about the cost of the damage civilization has brought to what is truly a beautiful and rich country better off left alone.

For a long time I couldn't find this movie anywhere. Not even at amazon.com. I cherish the copy I did finally find. I am thrilled to see that it is now available on DVD, but would like to see a DVD created with educational "special features" about the rain forest and the fight to preserve it. That's really what this movie is all about. See it now, before it gets away again.

ENTERTAINMENT'S EMERALD
A dam-builder is in the rain forest one day with his family, showing off his stuff. Suddenly his young son takes off to the woods and is never seen again. For the next few years the father leads a double life. Half the time he's building this dam, while the other half he's picking up his machine gun and running into the jungle to find his son. Pretty interesting life and a pretty interesting idea. And it's based on a true story. Some of the natives are truly weird, trying to put elongated bones into a machine gun that they find. There's a neat scene where they learn about either barbed wire or electricity. Another part I liked was where the native scales a small multi-story building with nothing but his bare hands and feet. The climax is really ironic. Very rarely do I see a movie where I watch it once and immediately want to see it again. This is one of those movies. I haven't seen it in a while, but my mind wanders back to it quite a lot. Definitely worth buying.

"Do you know my people?"
John Boorman's "The Emerald Forest" marks the director's return to nature a decade after "Deliverance" (1972). Once again, Boorman so ably captures the essence of the outdoors that it almost becomes a tangible supporting character. Nature in the cinematic world of Boorman is an entity to be revered and feared if you know what is good for you.

Bill Markham (Powers Boothe) is an American engineer who is in Brazil to help oversee the construction of a dam. While inspecting the construction site, tragedy strikes when his young son, Tommy (William Rodriguez) disappears. Haunted by his loss, Markham returns to the rainforest every year for ten years in search of his lost son. He eventually finds the adult Tommy (Charley Boorman) - now know as Tomme - living with the native "Invisible People." As Markham tries to re-establish his relationship with his son, he slowly learns of the devastating ecological and cultural consequences his industrial world has had upon the area.

"The Emerald Forest" sometimes comes across as too heavy-handed in its critique of modern society's threat towards the natural world. Yet, despite its labored message, the film's central story of Markham's searching for his son is involving on an emotional and dramatic level. Furthermore, the scenes with the natives are an insightful venture into an unfamiliar way of life that is as compelling as it is informative. Chalk up "The Emerald Forest" as another little nugget from the Eighties.

So . . . what did he say?
I have to give this film five stars for all the reasons that the other fans of this movie discuss. This commentary is on an unusual glitch that I discovered with the DVD. I'm referring to the MGM "Contemporary Classics" edition (in case there's another version out there).

I was surprised to discover that, when the native people were speaking, some of the subtitling was left off. Moments of indigenous dialogue were left un-subtitled in the VHS version (moments when a character appeared to be saying something like "Move" or "Hey, look."). However, with the DVD, there was one scene where a bit of dialogue that was significant to the development of the plot went unsubtited, and we were all left in the dark. It happened in only one significant scene, that I noticed, and eventually it was apparent what the character had said, but it was still frustrating and strange.

However, I still recommend that you get the DVD. When comparing scenes between the DVD and my old VHS copy (in order to see what had been said during the previously mentioned scene), I discovered that the old pan and scan version occasionally cut out almost 50% of the screen! With a film this beautiful, this is intolerable!

If you have this on VHS and are considering upgrading to DVD, I recommend that you do so - the visual pay-off is great! But keep your hands on the old VHS copy, unless you know the dialogue from memory.

Western ideaolgy versus indiginous values
I loved this movie in the theatre, bought the vhs in pan and scan and then the dvd in wide screen. I also have the sound track. This movie represents the values of western culture versus the indiginous culture. I have been to Las Amazonas 5 times and have seen what is happening. This movie compares the two cultures. This movie has a message about what indiginous people have and are happy with versus the destruction and modernazation of the western culture. Please, see the video and understand that western culture has something to offer but is not necessarily the panacea for the indiginous. ... Read more

Reviews (22)

If you don't get it...
To the person who gave this movie five stars yet panned this film, this is a film parodying life at a fictional HBCU during its homecoming, with a focus on three groups on campus: "Da Fellas" and their women (the women are known in the "Straight and Nappy" musical bit as the Jiggaboos, a racist term for African-Americans, because the women refuse to relax their hair), the people who would rather urge Mission College to divest from South Africa because of discrimination at that time; Gamma Phi Gamma and the Gammites, men who claim to have true brotherhood but dish out abusive punishments and orders to "obtain" that brotherhood; and the Gamma Rays (also known as the Wannabes because most--note I did not say all--of these women are light-skinned African Americans that relax their hair and are apparently rich), women that are just mere sex objects and trophies to the Gammas. And no, Spike Lee does not play Urkel--otherwise, he'd be wearing suspenders and speaking in an annoying nasal voice. He plays one of the Gammites who just happens to be connected to Dap (Lawrence Fishburne), one of Da Fellas. Of course, during its time, several people didn't understand this film. For example, while "School Daze" was shooting, the then-president of Morehouse kicked Lee and his cast and crew off of the college (Lee's alma mater) for the portrayal of the Mission College school president in the movie, who is dark-skinned. "School Daze" is a parody focusing mainly on colorism (discrimination among African-Americans based on skin tone), such as the view that the lighter your skin is if you're black, the more doors open for you (which was true prior to intergration laws). I really do like this movie, especially the song sequences done by cast members ("Straight and Nappy," "Be Alone Tonight"). I really encourage people to see this film. Although I realize this movie is not considered to be as good as "Do the Right Thing" or "She's Gotta Have It," this movie does have a point, and most people, despite their race, can relate to the themes presented in this movie.

Great Messages For Any College Student
The movie "School Daze" is as good in my opinion as many movies on "college life" that it transcends time and never becomes archiaic. actors Giancarlo Esposito,Lawrence Fishburne,Spike Lee and Tisha Campbell give talented performances as students and the best lessons were geared to the girls as when Tisha Campbell learns only too late that "she was being tested" as well by the rules of "eliteness":(don't assume that what's popular is considered protocol).The movie ends with the "ringing of the class bells" at sunrise bringing faculty and students out of their dorms "et al" as Lawrence Fishburne's charactor yells "Wake Up"(e.g alert your mentality to a bettr you via smarter actions).

Getting to the Root of Yesterday's and Today's Problems
I have to totally disagree with the editorial review stating the movie doens't come together. The movie does come together speaking of divisions on different planes. Whether it's on the campus of an HBCU or urban city, people of color have come across that division of "wannabees" & "jigaboos". In so many movies, we point our fingers at "them" for not treating us as equals but this movie made us to forcible point at ourselves. It made us look at how we discriminate among ourselves that white is right and black in bad. What is the real purpose of sororities & fraternities. We need to be reminded why HBCUs were built - because we couldn't attend elsewhere because of discrimination - yet we discriminate ourselves. Spike is reminding us to not become lulled into a deep sleep with material trappings (cars, jewelry, etc.) and wake up to reality. We can't stand together if divided among ourselves. I highly recommend this movie. It also allows you to see stars in their early years. I also cherish scenes of the late Phyllis Hyman.

Brings Back Memories!
I saw this film when I was in fifth grade elementary school. It was great seeing it again especially after the black college experience. Mission College...hmm I was there in Atlanta, in "the bottom" and I actually went to the KFC where Samuel L. Jackson's encountered. Brilliant performances by all characters especially at the step show. A must have dvd!

Entertaining!!
This definitely was one of Spike's weaker joint's. Though it was refreshing to see entertaining musical numbers in his film. Once again, race is the topic. However he concentrates on black America's preoccupation with light and dark skin. At the end of the film, you're bound to get into a conversation about it. That's the one thing Spike wants, a deep conversation about what we can do to improve relations with each other. ... Read more

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We regret that this DVD is under certain restrictions that prohibit sales to customers who live outside the North American continent. If you do not live in the United States or Canada, we will not be able to ship you this DVD. Thank you for understanding. ... Read more

Reviews (746)

THE FUTURE IS DISMAL - SO IS THE TRANSFER!
Ridley Scott's "Blade Runner" is an apocalyptic postmodernist vision of the future. The story involves a bounty hunter, Rick Deckard (Harrison Ford) who is assigned to kill three replicants - android style robots that look identical to humans, but who have come to earth to seek revenge on their creator - Eldon Tyrell (Joe Turkel). Sean Young costars as Rachel, the latest model of replicant who is so incredibly life like that not even she knows that she's not human. Also in the cast are Rutgar Hauer as Roy Batty - the ultimate killing machine, Edward Olmos as a drugged out police detective, Gaff, and Darryl Hannah, as the psychotic replicant, Pris. Flawed in its narrative, but visually stunning, "Blade Runner" has developed a cult following - and it is easy to see why. The production is layered with multi-references to the steady moral and social demise of our own society that stir the mind into rethinking this movie as much more than a sci-fi adventure. This version of the film is the re-edited director's cut that audiences were never shown in 1982. The subtle tweaking of story and plot elements really doesn't enhance one's viewing experience so much as it just alters the story in a different direction.
But what a shame about the transfer! Though the general color balancing and attention to fine details, even in the darkest scenes, is adequate, there is simply NO EXCUSE for leaving the chips, scratches and in some cases, tears in this DVD transfer. Pixelization crops up now and them, but the most disturbing part of the transfer is that it fails to pay attention to the dirt and (in some cases) hair, stuck to the film negative. The result is a dirty looking picture that, while perhaps in keeping with Ridley Scott's vision of a dank, hard universe of the future, is most definitely not what the director had in mind. Saving grace: the transfer is anamorphically enhanced for widescreen televisions. The sonic characteristic of the 5.1 audio is rich, though dated. Strong bass and reasonably well balanced dialogue and effects, though there are a few perceived occasions where dubbing in of dialogue sounds possible. And one final insult from Warner Brothers, this disc has NO extras - not even a theatrical trailer!

Stunning - The Best Sci-Fi Film Ever Made
Directed by Ridley Scott, possibly the best director in Hollywood, Blade Runner: The Director's cut is an outstanding medley of action, noir, sci-fi, and suspense. Robots have been taken to a new level - Nexus 6 Generation Robots called "replicants", which outmatch humans in strength and ability and equal in intelligence, but lack one human quality - emotions. They were used for "slave labor" to work in places too hazardous for humans. However, replicants after a few years begin to develop their own emotions, which causes them to rebel against their masters. Special cops, called blade runners, were assigned to exterminate criminal replicants. Eventually replicants were declared illegal on earth, and were banished to a shuttle in space. LA, 2017. Rick Deckard, (Harrison Ford) a retired blade runner, is forced to "retire" five replicants that have escaped from the shuttle, but winds up falling for one, Rachael. (Sean Young) Roy Batty (Rutger Hauer) leads the other three replicants to find their creator, Eldon Tyrell, to expand their short four-year life span. Incredible action scenes, dark, brooding noir, creeping suspense, and excellent sci-fi, Blade Runner: The Director's Cut will please fans of any of these genres. The Director's Cut offers production notes, subtitles, added character developement, the original ending, a unicorn dream sequence, and the deletion of unnecessary scenes and the annoying voice-overs. Plus, it is digitally restored to excellent picture and sound quality. Some "sensitive" viewers might find the plot and noir atmosphere cold, but action, noir, sci-fi, and suspense fans will enjoy it very much. With stunning special effects, incredible cinematography, compelling plot, and rich, incredible characterizations (esp. Rutger Hauer), I strongly recommend Blade Runner: The Director's Cut to action/sci-fi fans.

Not quite the Blade Runner I remember
After purchasing and viewing the DVD director's cut release, all I can think is "where can I find the original theater release version". I sat my family down to watch it two nights ago and they lost interest very quickly. While it is still visually stunning to watch, it is not enough overcome the seeming lack of narrative/plot. In fact, one of the key things removed from the director's cut version is the voiceover narrative by Harrison Ford's character Deckard. For those that know the original version, it can even be a challenge to remember the significance of each scene. For new viewers of BR, they're left wondering, scene after scene, "OK what just happened and what relevance does it have to anything?". Bring back the voiceover!

The Director's Cut is AWFUL.
Compared to the original version the Director's Cut is awful. Background narration has been removed; the ending has been changed. Don't waste your money.

this is still a good DVD
but not as good as the original release. I preferred the narration and for that reason, I probably don't watch this movie as much as i did when I had it on VHS. I really don't understand why they don't make both versions available. ... Read more

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One of the most invigorating period adventures to hit the big screen in decades, this lavish, brilliantly directed film drew critical and audience raves when it was released in 1995. Inspired by historical fact and larger-than-life legend, the intelligently scripted story takes place in Scotland in 1713, when Highland farmer and clan leader Rob Roy MacGregor (Liam Neeson) is forced to borrow money from the duplicitous aristocrat Marquis of Montrose (John Hurt) to help his clan survive a harsh winter.When Montrose's vile henchman (Tim Roth) schemes to dishonor MacGregor and his wife (Jessica Lange) and take the money for himself, the rugged Highlander must take courageous action to preserve his integrity. What follows--along with some of the finest sword-fighting ever filmed--is a tale of courage and valor destined to become an enduring movie classic. Tim Roth received a well-deserved Oscar nomination (for Best Supporting Actor) for his indelible performance as the foppish but deadly villain Cunningham, and both Neeson and Lange bring an earthy, sensual quality to their passionate roles. Boasting a wealth of breathtaking scenery and high-intensity action, Rob Roy is further blessed by a splendid supporting cast (including Brian Cox and Eric Stoltz), and the lush soundtrack by Carter Burwell strikes a perfect balance of romanticism and vigorous dramatic energy. --Jeff Shannon ... Read more

Reviews (66)

Scottish Western.
Directed by Michael Caton-Jones, written by the superb screenwriter Alan Sharp. Compared to other Hollywood productions, especially adventure pictures, the I.Q. of *Rob Roy* seems very high. And compared to Mel Gibson's *Braveheart*, to which this movie will be eternally and unfairly linked (both being treatments of legendary Scottish heroes that were each released in 1995), the dialogue in *Rob Roy* sounds like poetry: not merely intelligent, but downright metaphoric, even when vulgar (listen for Tim Roth's little speech about love being like a dunghill). But the intelligent writing and meticulous realism should come as no surprise to those conversant with 1972's *Ulzana Raid*, which was also scripted by Scotsman Alan Sharp, based on his novel. That was one of the greatest and most rigorously realistic Westerns ever made . . . and so is *Rob Roy*, despite its setting in early 1700's Scotland. All the traditional elements of the classic Western are here: good vs. evil, rich vs. poor, one man pitted heroically against the world, played against a backdrop of majestic beauty that puts it all in context. Those expecting an adaptation of Sir Walter Scott's beloved novel about Rob Roy MacGregor will be disappointed on that score. Instead, the movie is an imaginative prequel of sorts that takes place before the serious Jacobite uprisings depicted in the novel. It shows the impetus for the hero's later actions. And boy, does he get some impetus! Pitted against a triumvirate of scoundrels -- John Hurt as the Earl of Montrose, Brian Cox as Montrose's henchman Killearn, and most notably Tim Roth as the vile fop Archibald Cunningham, who's Montrose's deadly bodyguard -- Liam Neeson's Rob Roy doesn't stand a chance of remaining unscathed while treading the moral high ground. The worst of the depredations that come home to him is the perfunctory, brutal rape of his wife (Jessica Lange, sans make-up) by Cunningham. Those who are more than commonly sensitive to such scenes are well advised to look the other way -- this is one of the worst rape scenes in all of cinema. Ugly, but viscerally effecive. Other great scenes include the hero's last-second, desperate escape from Montrose's hangmen, followed by his hiding from them in the bloated carcass of a cow. The mandatory climactic sword-duel between Roth and Neeson is justly famous, and not to be missed. Perhaps the only thing lacking in *Rob Roy* is a great action sequence, a la *Braveheart* (which has at least one too many!). Somehow, the duel at the end, great as it is, doesn't seem quite hearty enough to whet the appetite for action that the movie inspires. While this is a genuine failing, it doesn't mar the movie's many virtues.

A good movie ' but it's just a story, not history
Rob Roy McGregor actually lived, an eighteenth-century Scottish clan chief who followed the traditional life of such men - leading his people, raising cattle, rustling other clans' cattle, engaging in feuds, killing his enemies, and so on. Historical novelisation has romanticised him and his activities, and this film continues the process.
It's a good movie: strong and noble-spirited leads, goodies struggling against the odds and the system, evil baddies, fights, sex, a climactic duel, and ultimate victory for the goodies, all against gorgeous Scottish scenery, what more could one want? But it's not a history lesson. And this is where so many reviewers have gone wrong. The film's makers missed the chance to show the background political context that makes sense of so much of what went on at the time.
And as a Scotsman I would add that while Liam Neeson and Jessica Lange turned in good performances, their 'Scottish' accents were only slightly less cringe-making than that of Engineer Scott from 'Star Trek'.

Nice scenery, story is lacking
Based on what we've seen in the film, Rob Roy's honor is the most important thing to him. But does that mean that cunnying, intelligence, leverage, and knowledge is to be discarded? Rob Roy does everything wrong in this film from the moment he allows one man to act has his financial agent to the fact that he doesn't use his allies against those that are trying to kill him and who end up raping his wife, he acts in typical Hollywood fashion as an idiot.

The film would have been quite short if he would have done the right thing from the very beginning. But, alas, we would have no film so hence the stupidity from which we are tortured.

The film has some great scenery and the acting is enjoyable except for the brutal rape scene of Roy's wife. Other than the scenery and acting, there's not much to see let alone giving cause to buying the DVD.

What's not to like?
A wonderful film overshadowed by "the other" kilt movie that came out that same year, Rob Roy is stuffed with action and romance and political intrigue. Brilliant performances by Liam, Jessica, and especially Tim Roth and a then unknown Brian McCardie. Brian gives a stunning debut performance as Rob's younger brother Alistair (who, though he didn't exist in real life, sure made for great cinema!). A great story that will have you weeping and pining for the highlands!

sexual violence a turnoff
I missed this movie in the theatres and was eager to see it. The acting, scenery, snd musical score were all superb. What turned me off was the ( as also stated by another reviewer) protracted rape scene. It was about as brutal as it gets and went on far too long. I think this was really unnecessary since ( when Tim Roth forced Jessica Lange accross the table) we all knew what was going on.Having been a victim of sexual violence, I was completely turned off by the prolonging of this scene. Totally unnecessary to do this. ... Read more

Reviews (567)

More like A Clockwork Tangerine!
Some consider this to be Kubrick's masterpiece. In my opinion Dr. Strangelove was his masterpiece, but Orange is a master work, nonetheless. It's a dark tale of prophecy, a vision of a bleak future, violent and vicious in the extreme, which some might also say we're living in today, judging by the headlines.

So this is a great movie, but this DVD is a great disappointment! Despite what the details above say and what it says on the disc snap-case, the film is not in widescreen letterbox format, but is in full screen format! And the image quality is only fair-to-good. The sound is OK on my mono TV speaker but evidently is not Dolby multi-channel. And the theatrical trailer freezes at various points during playback. There's a chapter index and a list of awards the movie won or was nominated for, and that's about it for bonus features! One can only hope that the next release of this movie on DVD will do it justice, and make it a true Kubrick collectible!

Substance and Style!
Perhaps the greatest irony in "A Clockwork Orange" occurs in the scene where Alex is reading the Bible in prison. He informs the viewer that he loves the violence and sex contained in the first part, but really has no use for the preaching in the latter half. I've come across a lot of folks who have seen this flick and it never fails- there are many out there who, like Alex and the Bible, love the brutality of the first hour of the film, and cannot abide the preachy second half. If you are one of those, stop reading this review.

"A Clockwork Orange" is an ingenious comparison of two theories of punishment- retributivism and utilitarianism. Debate has raged over the proper role of a criminal justice system. Is the goal to punish the criminal according to the old eye for an eye standard (retributivism) or to reform the criminal into a useful, law abiding citizen (utilitarianism)? At the outset, many people dismiss utilitarian values as a lot of liberal silliness: soft on crime. A more important question is whether we should reform criminals whether they desire to be reformed or not for the good of society. One of the more interesting aspects of this film is that is shows utilitarianism can be a far more brutal method than retributivism, contrary to popular thought.

Here we have the debate crystallized as if the proponents of both, Kant and Bentham, were debating the merits before our very eyes through the characters on screen. Alex is unquestionably rotten to the core; he maims and rapes helpless victims for laughs. The first hour of the film is dedicated to underscoring this point. When Alex is apprehended by the authorities, he is dealt with in the old fashioned Kantian way- punishment.

Alex then volunteers for a special treatment that will "cure" him, in exchange for freedom. The cure is a form of conditioning that causes Alex to become terribly ill whenever any inclination towards sex or violence surfaces- he now has a reflexive aversion toward evil, and "ceases to be a being capable of moral choice". The final act of the film deals with the consequences of being "cured" in such a way.

By now you probably get the idea- go see this film (but not as a "date"). To further entice you, it's one of the most visually exciting movies ever made, with vibrant images that will burn themselves into your mind. If you've never seen it on DVD, the transfer is great, and you will see things you've missed before. And as a final bonus, look for the guy who plays Darth Vader as a bodyguard.

I'm laughing at clouds
"A Clockwork Orange" is screenplay writer/director/producer Stanley Kubrick's interpretation of the book of the same name by Anthony Burgess. The dialog includes some of Burgess' made-up language from the book.

The plot revolves around Alex de Large and his group of friends who are very violent, and get their kicks by raping and assaulting people. After Alex and friends commit various crimes, Alex is finally arrested and put in prison with a sentence of 14 years. Eventually, his sentence is commuted in exchange for him undergoing experimental aversion therapy which makes him physically ill at the thought of sex or violence. However, it also makes him hate Beethoven's 9th Symphony which was played as background music to some aversion films during treatment. After an attempted suicide, Alex is re-treated with apologies by the government for inhuman treatment, and Alex appears he will resume his old ways.

This movie is highly stylized, including wardrobe, hairdo's (mom has purple hair, another woman had dark blue hair), set dressing, location and props. There is a fair amount of full frontal nudity of both sexes, and some stylized and slow-motion violence. Kubrick has made some good and bad movies, but this is his most stylized and over-the-top effort. Not for everyone.

DVD has chapters, English or French spoken language, several subtitle languages, a trailer and list of awards.

MUST SEE!!!
Amazing portrayal of the effects of a violent youth on society, and the effects of society on the violent youth in turn. Not enough can be said for Malcom McDowell's genious, artistic performance as the lead character "Alex". This character would be despised if played by any other actor, but Mr Mcdowell's rendition somehow finds us leaving the film with an almost endearing "fondness" for the boy.Fabulous must see art film, but definitely not for sissies!

gorgeousness and gorgeosity made flesh
With this provocative, amusing and beautiful tour-de-force Stanley Kubrick established himself as the most audacious and original directors of his time. Though the are thoses who despise it, no one can deny the power of this film to spark impassioned discussions on the film's sudject matter. And I for one feel this is an achievement all on its own. This stirring classic, I hope, will endure and inspire generations of young film enthusiasts like myself. ... Read more

Amazon.com

Critics tripped all over their big feet to praise Big Night, and in doing so performed a grave disservice to this fine little film. They fooled audiences into believing it was a "super movie" instead of a home movie buoyed by friends and family. Consequently, many viewers were disappointed. Big Night is an intimate look at the immigrant struggle to attain the American Dream, set in New Jersey in the 1950s. Its disproportionate success gave co-directors Stanley Tucci and Campbell Scott, who also star in the picture, the green light to follow up with a smug, unsuccessful second venture called The Imposters. Tucci wrote Big Night with his cousin Joseph Tropiano, and they based the story on the experience of growing up in a large, proud Italian family. The brothers in Big Night--chef Primo (Tony Shalhoub) and businessman Secondo (Tucci)--have come to New Jersey to open a bistro named The Paradise that serves the finest in traditional, authentic Italian cuisine. Their every move is foiled by rival restaurant Pascal's, which serves mile-high servings of spaghetti and meatballs and flasks of bad Chianti at exorbitant prices.Primo is disgusted by the fact that Americans want cheap pasta instead of risotto, so Secondo hatches a plan to boost business: rumor has it bandleader Louis Prima is travelling through and will dine at The Paradise that very night.Secondo gambles to bring the finest dinner ever cooked--at the risk of losing his shirt and being reduced to exile to the old country with his tail between his legs. Big Night is a film that will easily invite comparisons to other "food" fare like Babette's Feast and Eat Drink Man Woman but, though Tucci insists his story is "about the struggle between art and commerce and the risk of staying true to yourself," the media refused to let it stay a small, comparative work. The movie, and the buzz around it, became a parable for the essence of the film itself: art vs. commerce. --Paula Nechak ... Read more

Reviews (62)

People should-a come just-a for the food...
Primo (Tony Shaloub) is a traditionalist, a perfectionist, an artist; he is a chef without compromise. His younger brother, Secondo (Stanley Tucci), will compromise, bend, wheel and deal; he is a desperate businessman who cares about food, but is realistic. Unfortunately, their little restaurant is way, way ahead of its time. When their 1950s customers go out for Italian food, they want red-checked tablecloths and lotsa spaghetti and meatballs, not risotto and delicate wine. How can their restaurant stay in business? It can't, but they try to save it with an all-out feast for a famous Italian jazzman. If you're the least bit hungry when you watch this film, you've got trouble, because food has never looked this good. It's a quiet, slow movie, but you get to know Primo and Secondo completely, and you find yourself wishing their restaurant was in your neighborhood so you could go there and give them all your money.

What a delight - but eat before you watch it
Eat before you watch this movie; otherwise, you'll end up painfully hungry and go stuff yourself with every bit of Italian food you can lay your hands on.

This is a simple story of two brothers struggling to fulfill their dreams - one to be a "success" in America; the other to be a great Italian chef.

Realizing the dreams of the first brother hinges on the success of one important meal depends on the skill of the second - and forces outside their control.

Tucci, Shaloub, Holm and company all give wonderful performances. There's no showing off by the many successful actors who are in this movie - they all just do a great job.

The climax of the movie is the banquet scene, and it's going to make you hungry and want to get up and dance.

The final scene which lasts for several minutes with the only dialog being one line - "are you hungry" - wraps up the movie nicely, and shows what a good director and actors can do when both understand the power of subtlety.

This is one fun movie - lots of laughs, amazing food, and a great soundtrack.

Wonderful "Little Film" -- So-So DVD
Stanley Tucci, as actor, co-writer, and co-director (with Campbell Scott, who also plays a pitch-perfect small part as a car salesman), deserves a great deal of the credit for this small, intimate, delightful film. But the film resonates because it got so many of the little touches right, from the ensemble cast to the soundtrack to the editing to the cinematography. So there is a lot of credit to go around.

Tucci plays Secondo, the aptly named younger of two Italian brothers who have emigrated to New Jersey from the Old Country. Secondo is the entrepreneur, the guy who wants the big Cadillac. Primo (Tony Shahloub), the older brother, is the magician of a chef. Primo is so good, in fact, that his culinary masterpieces go over the heads of the good folks of New Jersey. When contemplating a wonderful seafood risotto, a diner complains that she can't see the seafood, and that her desired side of spaghetti doesn't come with meatballs (inspiring the wonderful line, "Sometimes spaghetti wants to be alone").

Primo bemoans the fact that he is serving food to Philistines, but the sad fact is that most of the Philistines are eating across the street at Pascal's restaurant. Pascal, played with great zest by Ian Holm, knows that you have to give the customer what he wants -- even if it is culinary sacrilege. The contrasts between the restaurants, from the colors to the lighting to the clientele, could not be more staggering!

Secondo laments to Pascal of his financial woes, but refuses Pascal's (repeated) offer to come work for him. Pascal, being a big-hearted guy, tells Secondo to pull of a "big night," with no holds barred. Pascal will invite his good friend, Louis Prima, who will come, eat, and love Secondo's restaurant. Then, the people will come.

So the story builds to the big night (a side plot regarding Secondo's tortured love life notwithstanding), which is where the movie really takes off.

Organizing the banquet scene into courses, "Big Night" revels in the wonders that can only be brought about by great cooking. The cast has a difficult task -- how do you emote rapture without going over the top? The ensemble cast, which includes Isabella Rosselini, Minnie Driver, and Allison Janney, nails this task just right. The cooking scenes are also hectic and impressive without going over the top, too.

Following the big night, many truths are revealed, perhaps because it is impossible to deceive after having such a wondrous experience. If this film doesn't move you, or inspire you to get thee hence to an Italian restaurant, you have no heart!

But again, the heart of the movie is its dedication to the small touches. From Primo using his cup to tamp down his espresso grounds to the making of a simple omelet, this movie gets it all just right.

The DVD does not have much to offer as far as extras go. What it does have is one heck of little film.

A bland meal
I've seen BIG NIGHT described as "one of the great food movies". Let me clarify something here. The adjective "great" modifies "food", but not "movies".

Primo (Tony Shalhoub) and Secondo (Stanley Tucci) are Italian immigrant brothers who've opened the Paradise restaurant in an unidentified surfside town on the Eastern seaboard sometime in the 1950s. The elder Primo is a superlative chef, and both he and Secondo know it. But, Primo cooks to his desires and not the customers'. So, two years into the venture, the brothers are almost broke, the bank is about to repossess, and Secondo, the one with the business sense, is driven to despairing distraction.

Down the street is the competing Italian restaurant owned by Pascal (Ian Holm). While he admires Primo's talent, Pascal gives his patrons what they want, so his eatery is enormously successful. To help the boys out, Pascal arranges to have his friend, the Italian-American singer Louis Prima, come to the Paradise with his band for dinner. Secondo spends virtually the last of their savings preparing for the BIG NIGHT with the expectation that the event and its attendant publicity will yank them back from the brink of insolvency. In the meantime, he avoids emotional commitment to his girlfriend Phyllis (Minnie Driver) while having an affair with Gabriella (Isabella Rossellini), Pascal's mistress. After all, what are pals for?

The best bits of this film are the too infrequent cooking sequences. But the best ends there. BIG NIGHT doesn't know whether to be a drama or comedy, and succeeds at neither. The dialogue is flat and uninspired throughout, and the plot goes nowhere of interest. My wife, perhaps a dollop more impressed than I was, called the film a "character study". But no persona in this otherwise dull movie is engaging, and, indeed, I found Pascal's ebullient crassness positively annoying. About the only other good thing I can say about BIG NIGHT is that it uses as props some well-preserved, large tail-finned, period Cadillacs that will perhaps stimulate vintage car buffs.

Better films to rent that revolve around food preparation are MOSTLY MARTHA (2001) and EAT DRINK MAN WOMAN (1994). These, at least, portray characters to care about.

The American cinema needs more BIG NIGHTS!
The film "Big Night" is not a small little picture that was over-hyped by critics. The only person who would be disappointed in this film would be some 15-year old kid that was looking for some kind of "2 Fast 2 Furious" crap. Over all the Amazon editorial staff does a fine job of presenting the plot or scope of a film, book, or CD. In the case of "Big Night" I am left to wonder if the reviewer watched the film or just read the back of the DVD case. Her opinions are fine but in the review itself she wrongly guides the reader as to both the plot and the outcome of the movie- Two things that should never be done. ... Read more

Reviews (32)

gloom, despair, agony, bleak, depressing...I LOVE IT !
Jane Fonda left her fluff pieces behind her and became a REAL actress after her Oscar-nominated performance here as Gloria, the bitter and hopeless woman who joins a grueling dance marathon (a craze of the Depression '30s) with Michael Sarrazin as her partner. She leaves nothing behind and throws herself into this bleak role taking huge risks that 'STAR' actresses don't do anymore. The film also put Sydney Pollack on the map as a director to be reckoned with. Finding an audience for this film may be tough because of its unrelenting gloom, but if you watch it and don't find yourself thinking about it for weeks after you have seen it, you don't know what movies are about. The message here is that there are no winners in life....only survivors. These are the kinds of films I favor (bleak and depressing) as that is what real life is about....it's a struggle. If you're looking for a diversion from real life, don't come here. The film also contains an Oscar-winning turn by Gig Young as the dance marathon's promoter and emcee and an Oscar-nominated performance by Susannah York as a Garboesque wannabe actress looking for a break. Horses is more a disaster film than anything else. No ship hits an iceberg and no building catches fire, but everyone involved experiences disaster. Don't pass this up.

A MASTERPIECE RESTORED
I was overjoyed to receive a gift of the reissue of this video in 1995, that is until I watched it in all its "pan & scan" desecration. It is truly a joy to watch this DVD (VHS is now available in widescreen as well) in the right format with all the extras. But all that aside, this is a towering, neglected masterpiece of American cinema that virtually put director Sydney Pollack on the map and established Jane Fonda as the premier American actress of the Sixties and Seventies. Who else could have captured the tragic essence of the bitter, beaten Gloria but Fonda? Watch her especially in the final elimination round as she desperately (and literally) carries her ailing partner around the floor in a final attempt to win the big prize and (symbolically) maybe give life one more try. Fonda never sentimalizes this great character as a lesser actress would have been tempted to; no simple answers or easy forgiveness will do for Gloria--she is too important to be trivialized. Red Buttons, Susannah York, and Gig Young are also superb in supporting roles; the cinematography and music also deserve kudos. If you haven't seen it, do not miss this American classic and one of the century's greatest actresses just entering her prime. How we do miss Jane.

An Awful Movie
They Shoot Horses, Don't They? is an awful film. It is about as interesting as watching water boil. It is also unhistorical in that the 1930's are depicted as a time of prosperity even though in real life that was the decade of the Great Depression.

There is no real depth to the plot. Nor is there anything exceptional about either the direction, photography or the soundtrack. Jane Fonda is badly miscast in this role and she delivers her lines poorly. None of the performances in this movie are especially good.

In sum, this is a movie to avoid.

Possibly the worst movie of all time!
The only movies that may be worse would be Accidental Tourist or maybe Blair Witch Project. It's tough to pin down what exactly made this movie so bad. Thats probably because every facet of it STUNK SO BAD! All I know is that I wasted 2 hours of my life of this tripe, 2 hours that I'll never get back. Go ahead and rate my review as unhelpful if you must, but DON'T SPEND MONEY ON THIS FILM!

Jane Fonda's Performance was Overlooked!
Horace McCoy's depression era play, They Shoot Horses, Don't They? is tragically brought to life through the performances of an ensemble cast. Jane Fonda delivers her greatest performance, as Gloria, a loner trying to cope with an everyday painful existence.
Be prepared for a shocking ending, if that's possible. There arises a glimmer of hope that life is better.
Sydney Pollack directs a masterpiece in the exploration of the human condition under the throngs of depression. The utter despair, agony, and suffering of each character is felt, heard, seen, and endured by the viewer. It becomes so intense that you want to scream, "Enough, I can't watch any more." There's no need to scream out. Horace McCoy solves the problem for the viewer, and for Gloria. ... Read more

Amazon.com essential video

The whole world is watching--literally--every time Truman Burbank makes the slightest move. Unbeknownst to him, in this hauntingly funny film by Peter Weir, his entire life has been an unending soap opera for consumption by the rest of the world. And everyone he knows--including his mother, his wife, and his best friend--is really an actor, paid to be part of his life. In this intriguing and surprisingly touching 1998 film, writer Andrew Niccol imagines an ultimate kind of celebrity, then sees it brought to life with comic intensity and emotional honesty by Jim Carrey in what may be the performance of his career. Carrey has exceptional support from Laura Linney and Ed Harris, but it's his show, in a portrayal that demonstrates just what kind of range Carrey is capable of. --Marshall Fine ... Read more

Reviews (401)

Best Film of 1998-Forget Shakespeare in Love!
Nobody will ever accuse the Academy of Motion Picture Arts and Sciences of having common sense or good taste. I'm still scratching my head trying to figure out why this film was beat out by "Shakespeare in Love", and why Jim Carey, who turned in the best performance of his career in "The Truman Show", wasn't even nominated for best actor.

The plot of this movie is simple enough-Jim Carey plays a young man whose entire life has been entertainment for the rest of the world. He dares to reach beyond the giant bubble which is his universe to see what's out there, only to be foiled.

Of particular note is the scene toward the end of the film where Truman reaches the end of the dome shaped studio and is told by Christoph (Ed Harris) about his world. This stands out as one of the most magical scenes in an extraordinary motion picture.

I realize that this movie isn't for everyone (my wife, for one, didn't particularly like it), but Carey's performance alone justifies the purchase of this video. He displays a vulnerability and childlike fascination that is unlike anything I've ever seen. A very good supporting cast includes the shamefully overlooked Ed Harris, as well as Laura Linney.

"The Truman Show" is one of the most brilliant and overlooked motion pictures ever made. The ersatz "Ed TV", which followed a similar plot, doesn't begin to approach the craftsmanship of "The Truman Show". Hopefully, the Academy will make up for their slight of Jim Carey with "Man on the Moon, which appears to be his second acting tour de force.

oustanding!
Imagine that your whole life is a lie, everyone is watching you everywhere, and the people who you love and with whom you've been sharing your life, including your best friend and your beloved and always funny wife are just actors. The Truman Show's basic idea carries an undoubtful cruel and sad felling, but in the hands of Peter Weir, a talented filmmaker who believes in the humanity and in hope, the film turns out to be an interesting, funny, and entertaining masterpiece, although it has an undeniable sad context. Truman is played to perfection by an actor who I've never thought that he could actually act, Jim Carrey. In this dramatic, powerful and blessed hole, Carrey delivers an excellent job! certainly he deserved the Golden Globe for this breakthrough performance. Carrey builds an ingenuous, good and honest man, making impossible for the audience stop caring and loving him. And during the whole running time of the film, you will find yourself laughing, having a great time and sometimes crying for Truman at each curve his fate takes. The supporting performances stand out for their quality, Laura Linney (from Congo, a great flick about explorers who are hunted down by killer gorillas in a mountain, available at Amazon) offers an unforgetable interpretation, playing with ear-to-ear smiles a cold and cruel actress. It's beyond me the reason why she didn't receive any Oscar nomination, but it's said that Paramount, Truman's studio, tried to nominate her in the Best Actresses Category but the year's other main performances (Cate Blanchet, Fernanda Montenegro) were more applauded, but had they took the Supporting Category, she would be a tough contestant for the Oscar. Ed Harris' Christof is one of those characters that will live forever in the hearts of the audience, and Truman, well, Truman is perhaps the most upright, honest and sweet hero that Hollywood ever conceived. The technical aspects count with curious, never-seen-before camera movements, intelligent and different ways of shooting the scenes and a strong direction by Weir. The Truman Show is available at Amazon, the DVD and VHS include the original trailers and interviews with the cast and director. Own this masterpiece! And don't forget to take a look at Congo.

My expectations were too high
I really like Jim Carey and the word of mouth about this movie was very good. It sounded like such an interesting premise. I watched it and was not entertained.

1984, Brave New World, Lord of the Flies, Truman Show!
Who would have thought that 'The Truman Show' would be entered among the great literary and movie classics ever made. Where 1984 gives a bleak look at a government who looks at everything and Brave New World about cloning, The Truman show is the premierve movie about the most horrible of all television rages in the last 10 years: Reality-TV.

But in this case Truman does not it. The awful outside world has made him into an item of fun, a person used for the amusement of others.

Are we all watchers or maybe in a way all Trumans? Trying to get out if this spectacle called life?

Deep, great, wonderfullly acted and a seminal movie.

Hollywood's view of the fall of man
It amazes me that so few people notice that this is a religious allegory. Sure, on the surface this is about how the media have invaded every square inch of our lives, and it is a prescient take on reality television, but more than that, the story is about the fall of man and the end of innocence. If you've seen this before, watch it again and notice the parallels to Genesis, especially near the end where Christof (How obvious the name!) talks to Truman (true man) from the clouds. He even addresses himself as "the creator."

Jim Carrey gives what is still his best performance to date. And the screenplay gives you a great deal to think about. Watch this and "Pleasantville" back to back and notice the theological similarities. The Truman Show is definitely one of the best movies of the decade. And I think years from now, when people really begin to appreciate the depth of the screenplay, they will come to recognize it as the masterpiece that it is. ... Read more

Amazon.com

A box-office hit when released in 1994, this sprawling, frequently overwrought familial melodrama may get sillier as its plot progresses, but it's the kind of lusty, character-based epic that Hollywood should attempt more often. It's also an unabashedly flattering star vehicle for Brad Pitt as Tristan--the rebellious middle son of a fiercely independent Montana rancher and military veteran (Anthony Hopkins)--who is routinely at odds with his more responsible older brother, Alfred (Aidan Quinn), and younger brother, Samuel (Henry Thomas). From the battlefields of World War I to his adventures as an oceangoing sailor, Tristan's life is full of personal torment, especially when he returns to Montana and finds himself competing with Alfred over Samuel's beautiful widow (Julia Ormond), whose passion for Tristan disrupts the already turbulent Ludlow clan. Under the wide-open canopy of Big Sky country, this operatic tale unfolds with all the bloodlust, tragedy, and scenery-chewing performances you'd expect to find in a hokey bestselling novel (in fact, it's based on the acclaimed novella by Jim Harrison), but it's a potent mix that's highly entertaining. Not surprisingly, John Toll won an Academy Award for his breathtaking outdoor cinematography. --Jeff Shannon ... Read more

Reviews (122)

Legend of the Fall
Family values, brotherly love, Legend of the Fall is an epic which depicts every side of both.
Watching this film, it is easy to believe that Brad Pitt, Aidan Quinn and Henry Thomas are brothers and the sons of Anthony Hopkins. The love-hate relationship between Tristan, Alfred and Samuel is almost too realistic. The iron hand of a domineering father who only knows the army way leads to desparate struggles for independence and identity.
Tristin (Brad Pitt) is the middle son, favored by the father (Anthony Hopkins) because of, as well as inspite of, his wild nature. Alfred(Aidan Quinn) is the eldest son. He feels he should be most privilaged, and since he can't get honor and respect from his father, he struggles his entire life to acheive success and out do his brother. Samuel is the youngest son who is looked after by all the family. It is Samuel who brings the woman into the picture.
The struggles of life and death, love and hate weave their way in and out of the story.
Edward Zwick did an excellent job of blending the story with the talents of the actors.
Legend of the Fall is an emotional dramatic ride. The scenery of the remote wildernes is the perfect back drop to support the legend as it unfolds.
I would recommend this film to anyone who wants a good emotional drama with all the twists and turns of real life.

A Movie That Almost Lives Up to Its Grand Title
This is one of the most moving films I have seen in a long time. Believe me, unless you have a heart of stone, you will cry long and loud over the anguish of the two main characters, played beautifully by Brad Pitt and Aidan Quinn. Family values are at the root of this anguish, and there are many powerful and engaging scenes. I wanted to give this movie five stars, but it didn't quite live up to the implications of its grand title. The ending was a bit of a letdown as well, although it's an appropriate one for Pitt's character.

Legendary
This movie seriously kicks ass. It's been my favorite movie for years and it makes me cry everytime.

Love It
I love this movie its a wonderful love story, you can watch with your boyfriend, and he'll actually like it!It has just enough action in it and plenty of romance. If you can get it in the Target store its a few dollars cheaper BUY IT ITS GREAT

Melodrama at its finest
When people ask me about my favorite movies I give them a quick run down of my top ten: 1. The Godfather and The Godfather part II (tie), 3. The Shawshank Redemption, 4. One Flew Over the Cukoo's Nest, 5. Schindler's List, 6. The Silence of the Lambs, 7. Amadeus, 8. The Princess Bride, 9. Legends of the Fall, 10. Goodfellas. I am always surprised when they laugh at the 9th movie on my list. I can't understand why people think this movie is a joke. Yes, it's melodramatic but it works beautifully. Let me also say that I am not the biggest fan of Brad Pitt. His acting pales in comparison to some of the other fine actors of his generation (ie. Ralph Fiennes, Gary Oldman, Sean Penn). That said, he is perfectly cast in this movie. His ruggedness and wildman image were established in 1992's A River Runs Through It and his role as Tristan in LOTF seems almost like an extension of his role in River. I've heard that Johnny Depp, an actor whose talents I find superior to Pitt's, was originally offered the role of Tristan. I'm glad he turned it down for no one other than Brad Pitt could have BEEN Tristan.

I've always appreciated great acting. To me, there is nothing more entertaining than watching a De Niro, Pacino or Nicholson work his magic. There is only one truly great actor in Legends of the Fall - Sir Anthony Hopkins. In my opinion, he should have won an Oscar for this supporting role. A lot of reviewers criticized the second half of his performance (after the stroke) as being a bit excessive. I thought it was necessary in this type of film.

It was because of Legends of the Fall that I took an interest in acting. Not because of Anthony Hopkins...i know I could never be half as good as he. LOTF taught me that it doesn't take great actors to make a great movie. I thought Aidan Quinn, a talented but by no means gifted actor, was brilliant in the film as the tortured victim of unrequited love. It's my opnion that Quinn delivered a top-notch performance in the film, second only to Hopkins. The scene in which Alfred (Quinn) redeems himself in his father's eyes is particularly endearing. Also, the casting of Julia Ormond as Susannah was a stroke of genius. She has such classic beauty and is wonderful at conveying emotions without speaking a word. I often wonder where the hell she disappeared to.

Finally, I cannot say enough about James Horner's breathtaking score. I first became a fan of Horner's when I saw this movie and I believe him to be the top composer in the film-scoring business (yes, even better than the great John Williams).

Don't listen to the critics. This movie is amazing. They just don't make 'em like this anymore. ... Read more

Amazon.com

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon ... Read more

Reviews (64)

THIS MOVIE SHOWS THE WIDE RANGE OF THE GREAT EDWARD NORTON.
"Primal Fear" is an entertaining thriller with some plot twists, good performances and interesting story. But the best part of the movie is the Edward Norton performance, he steals the show from good actors every time he appears on the screen.

The movie introduces a cynical, narcissist and ambitious famous lawyer Martin Vail, he is played by Richard Gere, and of course he has no problem with the role because Richard Gere is cynical, narcissist, ambitious and famous. Anyway, when Martin Vail watches on TV the arrest of a boy accused of the homicide of a Chicago archbishop, he immediately sees the opportunity of raise his profile by defending the boy.

Then he meets Aaron Stampler (Edward Norton), a quiet and harmless boy; then the lawyer realizes that Aaron is innocent. After that, the movie becomes an entertaining thriller / mystery / courtroom drama, with some plot twists, interesting characters and revelations.

But the most interesting part is to see all the changes and emotions that Edward Norton prints in his character; he is just an amazing actor, his performance is by far the best in the movie. After this film, Norton delivered his best performance in American History X, and established himself as the best actor of his generation.

A more than solid thriller, with a twist
When I had first laid eyes on Primal Fear on pay-per-view years ago I had first dismissed at as another Hollywood who-done-it courtroom drama with no originality. And was I ever wrong. Primal Fear may seem like something you've seen before, but the clever, highly intelligent, and twisting script makes the film soar to unexpected heights, and Edward Norton's breakout performace as murder suspect Aaron has to be seen to be believed (Norton would receive a Golden Globe and his first Oscar Nomination for Best Supporting Actor which Cuba Gooding Jr. ended up winning for Jerry Maguire). Richard Gere has the starring role playing Norton's lawyer who seems to be the only one who believes Norton's innocence. With a super twist ending and a superb all star cast which includes Laura Linney, Frances McDormand, Steve Bauer, John Mahoney, Maura Tierney, and Andre Braugher, Primal Fear is a near superb little gem that I strongly suggest seeing.

You gotta be kidding!!!
This is a great movie with interesting plot twists?? I groaned throughout this movie. So predictable....the egotistical lawyer, his ex-lover DA, the dialogue, the acting....ughh. Nothing more than a basic Hollywood formula movie.
I will watch this occasionally to remind me what a recycled , done before, same old same old Hollywood type movie and how much I hate them. I guess some people get off on the same old stuff. Well if you don't, I warned you.

Murder and Misdirection.
"Fui bailar no meu batel alem do mar cruel," sings modern fadista Dulce Pontes in this movie's dynamic title song: "I went dancing in my boat, there on the cruel sea." And it must be just like a nutshell-sized boat dancing on a stormy ocean's waves that nineteen-year-old Aaron Stampler (Edward Norton) feels after his arrest for the savage murder of Chicago's saintly Archbishop Rushman. Or does it?

Certainly it doesn't help that Aaron was caught running from the crime scene, covered in blood, and with the archbishop's ring in his pocket. Besides, who is going to believe him anyway - a stuttering, uneducated boy from rural Kentucky who was found begging by the powerful clergyman, taken in as an altar boy and made to sing in his choir - that he was present when the murder was committed but can't remember a single thing because he blacked out? Nobody; surely not the police and ADA Janet Venable (Laura Linney), assigned by D.A./Rushman friend Shaughnessy (John Mahoney) personally to try the case, with the express mandate to obtain a death penalty conviction. Nobody, that is, except Aaron's defense attorney Martin Vail (Richard Gere). Vail, of all people: the flamboyant ADA-turned-private-practitioner, the star attorney not shying away from even the shadiest client, to whom TV and magazine cover interviews are as second nature as his courtroom appearances, and who cynically quotes as his mottos a professor's maxims on his first day in law school: "From this day forward, if your mother says she loves you, get a second opinion." And: "If you want justice, go to a whorehouse. If you want to get f**ked, go to court."

"Primal Fear" was adapted from William Diehl's like-named bestselling novel and, like in many literary adaptations, its screenplay is a hit-and-miss affair. Not successful, in my view, are those alterations that unnecessarily make Vail an even more ethically questionable lawyer as already conceived by Diehl; such as the way he becomes Stampler's attorney in the first place (which in the movie amounts to blatant client solicitation; not to mention that no sane lawyer would introduce himself to a potential client with the words "I'm what you call a 'big shot' attorney"), and the circumstances surrounding the discovery of a tape revealing the archbishop's not-so-nice private side (which in the novel isn't found by Vail but by his investigator Tommy Goodman [Andre Braugher]: of course that doesn't eliminate Vail's ultimate ethical responsibility, but contrarily to the movie, at least he doesn't "borrow" the tape from the crime scene himself, and he doesn't know in advance what Tommy is up to). Further, in the book the tape is not shown in open court and immediately introduced into evidence but viewed in the presence of only the judge and the attorneys, which given its contents seems more realistic (even if it were later introduced into evidence after all). On the other hand, particularly regarding the main characters the movie's alterations work well: Unethical or not, Richard Gere's Martin Vail is even more interesting than the character devised by Diehl; moreover, an unnecessarily cliched, ultraconservative judge nicknamed "Hangin'" Harry Shoat becomes an - although still tough - overall more multidimensional Judge Miriam Shoat (Alfre Woodard); similarly, Vail's mafia-affiliated client Joey Pinero (Steven Bauer) gains considerably in stature; and although it actually reinforces cliche to shift the love/sex relationship from the book's present one between Vail and psychiatrist Dr. Arrington (Frances McDormand) to the screenplay's past one between Vail and Venable (which the ADA now derogatorily calls "a one-night-stand [that] lasted six months"), thanks to Gere's and Linney's considerable on-screen chemistry their characters' personal relationship adds sparks and tension to their professional rivalry that also lend greater credibility to the final courtroom scene's powder-keg explosion.

Outstanding as all of its actors are, however, "Primal Fear" rises and falls with the performance of Edward Norton, and it is his breathtaking achievement that validates the movie more than anything. Then-newcomer Norton not only had to portray a boy almost a decade younger than himself (which he manages flawlessly) but also an incredibly complex character, sometimes shifting behavioral patterns, accents and manners of speech from one sentence to the next; and he delivers supremely, deservedly garnering an Oscar nomination (which in a year of extremely tight competition he lost to Cuba Gooding Jr. for "Jerry Maguire"), as well as a Golden Globe and several other awards, and together with his roles in "People vs. Larry Flynt" and Woody Allen's "Everybody Says I Love You" playing himself into public awareness once and, hopefully, for all.

Although "Primal Fear" is often cited for its final plot twist, anybody who has seen more than that occasional thriller can see its end coming somewhere halfway through the narrative (and I think that's true for both book and film - although I admit I hadn't read the novel when I first saw the movie). Moreover, the final twist depends on a feat on the part of Norton's character that lawyers and psychiatrists alike will find hard to take at face value. Thus, at first viewing this movie's end may appear a bit of a let-down. But trust me: The story grows on you the more often you watch it, and in my view it actually helps to know the end, because not only does this enable you to see the many nuances you necessarily missed the first time around; it also frees you to think about the moral issues addressed. For those reasons, and for the entire cast's - first and foremost Edward Norton's - fine performances, this has long become one of my favorite courtroom thrillers.

"[I believe that] things are not always as they appear, that sometimes facts can be manipulated the way a magician manipulates an audience. He distracts you with this hand, while the other hand does the tricks. It's called misdirection." - "Primal Fear," preface: from Martin Vail's summation in a case entitled "The State vs. Nicholas Luma."

Primal Fear (1996)
Director: Gregory Hoblit
Cast: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alre Woodard, Frances McDormand.
Running Time: 130 minutes.
Rated R for language, perverse sexual situations, and some violence.

Rarely is a psychological thriller/courtroom drama so intense, intellectual, and mind-blowing. "Primal Fear" is an excellent adaptation of the William Diehl bestselling novel, using a stupendous cast, an equally riveting screenplay by Steve Shagan and Ann Biderman, and fine direction from virtually unknown Gregory Hoblit. Red herrings and duplicitous plot twists are woven tightly into the film about a hotshot defense attorney named Martin Vail (Richard Gere) who goes looking for the limelight and finds it filled with shadows.

When a popular archBishop is brutally murdered in his illustrious home, a terrifyed young altar boy (in an exceptional, eerie role by newcomer Edward Norton--who would later become a star because of the film)is arrested as a suspect and held into custody. Due to the magnitude of the case, Vail leeches onto it and decides to defend the young man. Little does he know that he will uncover a viper's nest of corruption, pit him against a prosectuor (Laura Linney in a fine role) who happens to be his ex-lover, and hope to find the truth of a case that tests his will and win-at-all-costs attitude.

Gere is stupendous as the fame-hungry, confident lawyer, while Norton steals the film as he reveals the inner demons of the poor suspect. "Primal Fear" is one of the most well-made thrillers of the 1990's and is a film that emphasizes what is right and wrong about our judicial system, questions the legitimacy of the courtroom, and taps into a fear of the psychological unknown. A finale that will, if nothing else, shock you and make you think. An absolutely great drama. ... Read more

Reviews (80)

Powerful, Heart wrenching
Incredible effort by director Peter Weir and a very young Mel Gibson. A powerful statement on the futility of war and the terrilbe toll it takes on youth and innocence. Stunning cinematography and great acting, highlight this tale of the ill-fated Austrialian attack against the Turks during WWI. Two friends enlist hoping for adventure and glory, but learn first hand the horrors and helpless of war. If you liked Saving Private Ryan, you will love this film. A epic movie that that is hard to forget, with a gut wrenching finale. See it!

Heartbreaking
'Gallipoli' is one of the most gut-wrenching & heartbreaking films of all time, & is simply a must. The utter futility of war & the callous disregard for human life displayed time & again by High Command are laid out before us as two young ANZACs (Mark Lee & Mel Gibson) are manouvred inexorably to their deaths, along with thousands of their comrades-in-arms, in order to provide a diversion for the landing of British troops.

Ironically, the troops landed on Suvla Bay & were given the order to stay put. Many were slaughtered, caught between the Turks & the deep blue sea, while their officers dithered & High Command refused to issue orders.

One Australian reviewer has rightly reviled the British High Command's cavalier attitude to the deployment & slaughter of ANZACs (universally lauded for their courage); what is not mentioned - either by the reviewer from Brisbane, or in the film itself - is the casual disposal of British troops. As every British schoolchild knows, whole British villages & towns were left without able-bodied men between the ages of 15 & 50 after WWI, such was the carnage. This war changed the face of western civilisation, fuelling a revolution in attitudes to class & war, & the sheer brutality & pointlessness of it all should no more be forgotten than the astonishing bravery & self-sacrifice displayed by ordinary men (& women - nurses, drivers, & others) in the most desperate of situations.

I defy you to watch this film without crying. If you can, you need serious psychiatric help.

WHAT MANY REVIEWERS FAIL TO NOTICE...
IS THE BRAVERY OF THE TURKISH ARMY, AND THE INCREDIBLE HUMANITY LESSONS TO BE DERIVED FROM THE TURKISH COMMANDER:(SPEAKING FOR ENEMY SOLDIERS)
"Those heroes that shed their blood and lost their lives..you are now lying in the soil of a friendly country. Therefore rest in peace.There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours.. You,the mothers, who sent their sons from faraway countries wipe away your tears; Your sons are in peace.After having lost their lives on this land they have become our sons as well." MUSTAFA KEMAL ATATURK

Credit where it's due
As an English woman (I hate the term Brit - surely it's racist, isn't it? A bit like Paki or Frog?) I have the utmost respect for the ANZAC's. However - after reading a few of the reviews posted here, I'm not going to sit by and allow my own country to be denigrated.

There were thousands of British troops at Gallipoli as well as a smaller French contingent - under the command of Sir Ian Hamilton, a man acknowledged for his excellent bravery, but lacking the decisive qualities needed for the leadership of such an expedition.

In fact - despite the well-known WW1 poem about the Australian buried at Suvla Bay, there were mainly British forces put ashore there, (the famous 'Lost Battalion' of 1/5th Norfolk Reg. being one of them.) Most of the ANZAC forces landed further south at Anzac Cove.

Australia and New Zealand both entered the war behind Britain on an upsurge of patriotism - not surprising given that the then population of Australia who were of European descent was 96% British. ANZAC recruiting remained entirely voluntary throughout the whole of the war and the response from both the Australian and NZ populus was magnificent. Some 332,000 troops served overseas, of whom 212,000 were wounded and 60,000 were killed, a casualty rate of more than 82%.

There is no doubt the ANZAC's suffered terrifically during the Dardanelles campaign. The whole campaign was badly timed and hugely underestimated the Turks and their reorganisation by the German general Otto Liman Van Sanders. However, the British suffered too - a fact that is often forgotten.

As regards the film itself - it's a lesson in why war is futile, a study of loss of innocence, a moving demonstration of comradeship and love between men under the most execrable of conditions. Harrowing and intensely compelling. Peter Weir evokes atmosphere unlike any other.

If you're English - try to forget Mel's pathological hatred of us for a couple of hours and remember why our own fathers/grandfathers who fought in that terrible war had such tremendous respect for the ANZAC troops they encountered. And of course . . . we can always think of the Rugby!

Gallipoli
Story is Australian Patriots in WWI. Who gave there lives largely a result of there British Officers Error. I saw this on the History Channel and wanted a copy for myself. I understand that when this movie was shown in Australia for the first time. The audience sat in silence for 20 or 30 minutes contemplating. Mel Gibson and Mark Lee are tops. ... Read more

Reviews (6)

I love john sayles
There I said it I love John Sayles...of course plutonically lol

This is a great lesbian film that understands emotions, though older and low budget the theme is timeless and so are the emotions...see this film it is a turning point in films about lesbians yes it is made by a guy but someone should make him an honorary lesbian...he "sees" us.

A classic treat
John Sayles understands women more than some women understand themselves...I do not know what it is..but he gets us...

This is an older movie dated but the emotions are fresh....see where lesbian themed films began ...Lianna is a treat...ranks up there with older classics like Killing of Sister George, Theresa and Isabelle...through Desert Hearts to modern classics like A Family Affair, Aimee and Jaguar and now The L Word

Top Notch Sayles Flick
Sayles understands women better than many women understand themselves. This is a