Description

Too many kooks spoil the comedy soup? Not when BARBRA STREISAND and RYAN O'NEAL lead a madcap cast (including screen-debuting MADELINE KAHN) on a zany quest that's like a classic screwball comedy - only screwier! ... Read more

Reviews (93)

As comfortable as cashmere...
When a comedy is done right on screen, it often has a very long life beyond its initial release. Such is the case with this wonderful movie. From the moment at the beginning when Streisand hums and sighs and launches into a blazing version of Cole Porter's "You're the Top", the film is a funny, frenetic, comfortable delight that is as cozy as a pair of flannel pajamas. Everyone here is working at the top of their form, and the fact that it looks effortless shows just how accomplished and talented they all are. Barbra looks slim, tan, loose, and very sexy; Ryan O'Neal is perfect as Cary Grant in "Bringing Up Baby", and Madeline Kahn is just perfect. There are so many moments that are memorable, it's hard to name them all. Peter Bogdanovich brought it all together so beautifully, with such style, verve, and loud-out-loud humor, you'll be in heaven for 90 minutes. Hollywood romantic comedy doesn't get any better than this. The DVD picture is bright, crisp, and letterboxed. What a treat for us all!

A gem of a film!!
I remember seeing "What's Up, Doc?" as a kid in a drive-in theatre and laughing uproariously. Later, as an adult, I bought the video and wore it out; the movie still hasn't lost it's charm. I've also introduced many of my friends to the film, but one consequence of that is that my tape is now faded and fuzzy. God bless whoever got this movie onto DVD!!

If you've somehow missed this film ... stop reading, turn off your computer, go to the store and buy it. (Don't rent it; you'll want to watch it more than once.) I mean it. Go now!

I'm not a Streisand fan, but I sure make an exception in this film. She's fantastic! Her zany energy just pours off the screen, her timing and delivery are top notch, and her chemistry with Ryan O'Neal is simply unbelievable. And O'Neal ... is awesome. You might not think of him as an actor who could so ably take on the role of the boring, distracted, absent-minded professor, but man! he owns the role. From his opening shot straight through to the end of the film, he's simply wonderful. And if Streisand's cheerful nuttiness and O'Neal's goofy, sweet seriousness aren't enough for you, there's the inimitable Madeline Kahn in her first role, owning every scene she's in ... 'til Liam Dunn shows up as the judge at the end, that is.

The dialogue sparkles; why aren't more people writing dialogue like this these days? There should be a law. The comedic timing is impeccable. The story is lunacy, but it's sold whole-heartedly ... and the lack of a score (other than Streisand's rendition of "You're the Top" to open and close the film, along with a brief snippet of "As Time Goes By" during the film) makes the whole thing seem almost believable, somehow.

This movie is a gem; I can watch it over and over. The DVD is crisp and clean, looking like it was filmed last week ... a rarity for some early '70's films. The sound quality is excellent; nuances that were lost on my video tape are restored here. Streisand's commentary is generally unilluminating, but Bogdanovich provides some wonderful thoughts and behind-the-scenes anecdotes. All in all, an excellent release.

One minor, tiny little flaw: at the very end of the film, with Howard and Judy on the plane, my VHS version shows Judy batting her eyes, then a cut to Howard ... a cut back to Judy for a lovely pregnant pause ... and finally the return to Howard, who delivers his deadly comeback. The timing on that, as with the rest of the movie, is perfection. But in my DVD, Judy batts her eyes, and we cut to Howard ... who delivers his line after only a short pause. There's a missing bit there in the middle. YES, it's a terribly minor quibble ... but when you monkey with a classic and throw off the comedic timing, a guy has to wonder who would do such a thing.

That's really my only quibble. 5 stars anyway. (Have you bought this DVD yet?! Get going!!)

Great Fireballs of Screwiness, Doc!
Genuine screwball comedy may be one of the toughest cinematic feats to pull off. Alot of directors, including Speilberg, have tried and screwed up, but very few have achieved genuine anarchic, screwball style; Bogdanovich does it ecstatically with Doc. Perhaps one of the reasons films of the seventies are considered so extraordinary is that titles such as Godfather, Exorcist and Chinatown, etc, achieved the high water mark for their respective genres. So it can be said of What's Up, Doc, which not only holds up beautifully but seems even funnier with the passage of years. Do we dare say classic? Yup.

"I can't breathe, is it possible to break a lung?"
The first screwball comedy to be a box office blockbuster since the early forties, WHAT'S UP, DOC? fills it's 94 minute runtime with so many terrific one-liners, double innuendoes, and visual puns that the average viewer will probably have to watch the film a couple of times before he or she catches all of the jokes! Apparently the film inspired repeat viewing even during it's initial release - Doc was the third-highest grossing film of 1972 (right behind THE GODFATHER and THE POSEIDON ADVENTURE). In all honesty, I think this film has a higher laugh-per-second ratio than any film before or since.

This film was the perfect (and surprising) way for director Peter Bogdanovich to follow-up his cinematic landmark THE LAST PICTURE SHOW, and he keeps the film's momentum running right at the perfect speed. He also knows how to cast a film flawlessly. Buck Henry's marvelous screenplay contains many scenes with overlapping dialogue and double reverses, and the entire cast never misses a beat. Barbra Streisand literally radiates with magnetism throughout the entire film! Anyone who still wonders why she was the highest grossing actress of the seventies definitely needs to see this film; Streisand's performance in DOC is what being a movie star is all about. Many critics complained that Ryan O'Neal was miscast when the film was originally released, and those critics obviously missed out on the joke. The fact that O'Neal was considered a heartthrob at the time was all part of the fun in seeing him cast as complete goof; and I don't think anyone can deny the fact that he throws himself into the role completely.

As most viewers already know, Madeline Kahn has her finest screen role in Doc, and steals nearly every scene she's in (and she wisely knows just how far to push the characterization without going over the edge). The rest DOC'S supporting cast also could not be improved upon, Kenneth Mars, Austin Pendlrton, and Liam Dunn give just three of the standout performances in this perfect supporting ensemble. As with most comedies, DOC was snubbed at the Academy Awards (Bogdanovich, Streisand, and Kahn all deserved nominations in the respective categories in my opinion), but time has been good to DOC and remains far more popular than many of the films that did get Oscar noms in 1972. Arguably, the best comedy of all time.

About the DVD: The picture quality is very good - a tad soft at times, but very natural and true to the film's original look. The sound is mono, but it's well-rendered. It's great to have the trailer and vintage featurette preserved on disc, and while Streisand's brief commentary isn't very illumenating, Bogdanovich's full-length track is very informative and entertaining.

Use Your Charm.....
This is unquestionably one of my all time favorite films. All of the actors are in top form. Streisand turns in a masterful comedic performance which I would describe as "understated zany". O'Neil is stoic yet endearing. Madeline Kahn (in her movie debut, which makes the film noteworthy if for NO other reason) gives a perfect performance as O'Neil's overbearing fiance. The supporting cast including Kenneth Mars, Austin Pendleton and Liam Dunn are top notch. Brilliant writing (Buck Henry, et.al.) and directing (Peter Bogdanovich) combine with the cast to make this film one of the rare Hollywood productions that appeals to young and old alike. Don't miss this one, it is truly a classic. ... Read more

Reviews (240)

The Lost World
This sequel to the 1993 blockbuster is good as sequels go but isn't a great movie. Jeff Goldblum gives a good performance as Dr. Ian Malcolm and Julianne Moore contributes too. The screenplay based on the novel by Michael Crichton is poorly done but has a few funny lines. The cinematography is good and captures the horror very well, and the production design is very frightening. The soundwork is very good, but the editing by veteran Michael Kahn (Close Encounters, Raiders of the Lost Ark, E.T.) is not very well done, you can hardly digest what is happening. John Williams contributes a rousing yet ominous score. One thing that keeps this movie moving are the incredible Oscar nominated special effects done masterfully by the great Dennis Muren and Stan Winston. The basic plot is that John Hammond, the creator of Jurassic Park, has an island where dinosaurs roam freely but must send Malcolm along with his girlfriend and two other companions to photograph the dinosaurs so Ingen will be kept from disturbing the dinosaurs. Overall, fairly well done, suspenseful, but fails to capture the awe, greatness, and wonder that the original possessed. There is also a Jurassic Park 3 coming out. I can't wait.

Dinosaurs Galore
Recently I was able to catch Spielberg's The Lost World. I say Spielberg because other than the title it bears no resemblance to the book. This is not necessarily a bad thing. While a lousy interpretation of the book it is still a good film.

Jeff Goldblum is hired (by a man who is dead in the book) to study the ecosystems on InGen's Site B where dinosaurs have been flourishing. Only the fact that his girlfriend is in danger gets Goldblum to go. No sooner does he arrive and try and convince her to leave than a massive InGen expedition shows up to hunt and capture dinosaurs.

InGen's plans for capturing dinosaurs goes awry when Goldblum and friends release the dinosaurs during a satellite-linked board meeting. InGen plans to open a dinosaur park facility at the San Diego zoo. During the chaos every radio in the camp manages to get trampled. The survivors must now find a way off of the island. Unfortunately most of them are killed in a brief attack by velociraptors while in tall grass.

The few survivors of the second expedition manage to capture a T-Rex and ready it for shipping to the states. Goldblum and friends escape by helicopter.

In San Diego the T-Rex manages to escape and go rampaging through the city. Goldblum must lure the T-Rex back onto the freighter that brought it to the States. In the end a huge navy escort follows the freighter back to the island while Mr. Hammond implores to public to leave the dinosaurs alone; they deserve it.

Some people definitely had fun making this movie. There were scenes from classic and not-so-classic movies including King Kong, Godzilla, Carnosaur 3 (CARNOSAUR was the book Crichton got the idea for JURASSIC PARK from) and others. Two scenes I particularly enjoyed were a crowd of screaming Japanese looking over their shoulders while running in terror and a little boy who wakes his parents to tell them that there is a dinosaur in the back yard.

It was reported that a paleontologist made sure that the dinosaurs acted as current scientific beliefs say they should. Hah! The Stegosaurs were the size of apatosaurs. Something, possibly the escaped triceratops, managed to knock a hummer airborne so that ir reached an altitude of at least a hundred feet and an amazing distance. Velociraptors can now leap three stories up and forty yards out. The tyrannosaur can run right through building walls without slowing down. Fun? Yes. Realistic? No way. Needless to say if the dinosaurs acted this way in the first movie then no one would have escaped.

Still, it was a very fun film that I recommend to any dinosaur lover who can stand to see people pulled apart by huge carnivores sharing a tidbit. The Lost World (the third film by that name) should be available on video and day now.

Steven Plays Around A Bit...
Actually, LWJP is just Steven Spielberg having some fun. It's an obvious tribute to movies like King Kong, Godzilla, and even the original 1925 version of The Lost World. It's a non-stop SFX extravaganza that is more dessert than a nourishing meal. Jeff Goldblum returns as Ian Malcolm. He is not bad in his role, though he does wear thin. Julianne Moore is beautiful as always, and pulls off her "concerned scientist" part with ease. The T-rex is back, with his mate and offspring. The Raptors terrorize, managing to kill off many slimy hunters and Ingen drones. Not a bad sequel, considering that most sequels are pure rubbish anyway. I enjoyed the T-rex running rampant in LA. I only wish it had had more time to cause hysteria and chaos! A nice binge-eating trip down Hollywood Blvd would've been cool! Oh well. Watch with brain on pause...

It's Lost All Right
"Jurassic Park" could be forgiven the lack of story and character development because it was artfully crafted to be a thrill ride. This sequel, also inspired by Michael Chrichton's book, departs more from the story and fully flops into the B-movie category.

Jeff Goldblum is back visiting the dinosaurs, along with several other characters from the previous movie. This time our scientists are observing the behavior of the dinosaurs, trying to learn as much as possible, a very scientist-like activity. However, greed plays a part once again as a team of big-game hunters come to the island to attempt to capture an array of dinosaurs for a dinosaur zoo in an attempt for Ingen to recoup some of its substantial investment in the dinosaurs.

All appears to be going well for everyone except the dinosaurs until the scientists decide to play environmentalists and release all the dinosaurs from their cages. The dinosaurs go on a rampage (ever seen a rampaging triceratops?), destroying the camp of the hunters. Even then our scientists would have been okay had they not decided to help a baby tyrannosaurus. The parents track down the baby with predictably bad results for the humans.

Now scientists and big game hunters alike are on the run from the tyrannosaurs, and in the process of escaping they encounter our old friends the raptors, still intelligent, still agile, and still very hungry.

Eventually some of the characters escape, and the tyrannosaurus and its baby are captured so that they can be taken to California. Something unexplained happens on the ship and the only thing left are the tyrannosaurs and a hand trying keeping a cargo bay door closed. Remove the hand and a miniature Godzilla roams the streets of San Diego.

The first Jurassic Park movie had plot holes that you were able to ignore in favor of the cool special effects and the action. This time the plot holes are bigger than the movie. Real scientists do not behave as Dr. Sarah Harding (Julianne Moore) does in this movie. As Dr. Ian Malcolm (Jeff Goldblum) advises her, "Do not interact," a basic rule of scientific observation. Interacting is for Green Peace and the Sierra Club, not for real scientists.

Our hunters blunder about in a manner that is guaranteed to get them killed. They run when they should walk. They walk when they should stay put. The actions of the supposed scientists continually put everyone into danger. When you remove the bullets from a gun, and the gun is later used to attempt to protect you, the result is predictable. The plot holes continue in allowing the tyrannosaur escape.

Added to the plot holes are moments of humor that further spin this movie into the realm of low-budget monster movies. The scene with the dog in a San Diego suburb was completely unnecessary. Of course, by that point I was beyond disappointed with the movie.

This movie does have a few good points, all based on action scenes, but the plot holes outweigh the good portions and the mistakes and silly behavior make this movie difficult to watch. I give this movie three stars because the special effects continued to be good, the only redeeming feature of this movie.

Okay, not as good as the first
This movie was okay. The first one is so much better, but this one is still not bad. I thought it was awesome when the T-Rex attacked a city! I still bought it because I love the movies. See it if you like the first, but don't expect it to be better.

MPAA: PG-13
Running Time: 129 minutes
Year released: 1997 ... Read more

Reviews (27)

"A Bad Little Girl Named Melba Niles"
Poker is the setting and the power of corruption is the theme of The Cincinnati Kid.The two protagonists in the poker match are The Kid (Eric Stoner, played by Steve McQueen) and The Man Himself (Lancey Howard, played by Edward G. Robinson); youthful, exuberant, but inexperienced and innocent challenger vs. the accomplished, dedicated, wise yet dessicated champion.

The primary vector of corruption is Melba Niles (played by Ann-Margret) in a remarkable role.At the outset her husband (The Shooter, played by Karl Malden) complains that she cheats at everything as she puts together a jigsaw puzzle by trimming the wrong pieces with manicure scissors. Her influence despoils everything it touches:Shooter's "reputation is the one of the few stable things in a world of crumbling values" at the start of the movie; he's the only dealer everyone can trust.By the end of the movie his reputation is in tatters, giving "an occasional helpful card" to The Kid at the whim of Slade (Rip Torn) who threatens to expose Melba's past.The portrayal of Shooter's descent is well done; Melba laughs and mocks as he wrestles with his conscience ("I'll only help him if he really needs it.He might not need any help at all.").

In an early scene Christian (The Kid's girl, played by Tuesday Weld) and Melba go to the movies.As Christian describes the movie to the Kid, she is puzzled that people in the movie "valued their lives more than their honor".The Kid explains (as to a naive child): "Well, yeah.What good is honor if you are dead?"At some level the movie "The Cincinnati Kid" seems to ask the obverse question "What good is your life if you don't have your honor?"

Later, Melba asks the Kid (with Christian present) about the upcoming game with Lancey; Christian didn't know about this major event in the Kid's life and she goes home to her parents feeling hurt, thinking that she doesn't have The Kid's confidence, that he doesn't even tell her about it.The Kid ends up thinking that maybe she doesn't love him anymore.

During Christian's absence Melba tries to seduce the Kid, and at first the Kid can resist her, recognizing Melba's corrupting influence and not wanting to cuckold his friend The Shooter.But because of the confluence of circumstances (Shooter's dishonesty and Christian's indifference) he succumbs to her.As you might expect, the Kid pays a heavy price for this weakness.

Other attractions are the snappy dialog, and the final showdown between the Kid and the Man is a classic scene not to be missed.

this is one of my favorites!
every time this movie comes on TCM, i have to look at it. the stud poker scenes are intense. Steve McQueen and Edward G. are suberb. i just love it! and the title song sung by the Great Ray Charles is a treat. i just love it. Worth ordering and adding to my collection.

I miss about the few seconds on New Orleans Jass
Please, please please release a DVD. Sometimes this great
movie is still shown in German TV, but too seldom. And I'm
hungry for the few moments of New Orleans Jazz (perhaps Geo Lewis?). 4stars of because there is no DVD

The arrogance disciple against the experience master!
This is a cult film all the way and certainly one of my favorite issues of Norman Jewison. Few times before or since this picture have ever been such adrenaline confrontation and dramatic tension in any card game .
Edward G. Robinson is the old master and Mc Queen the young man , capable to conquer the world just in one gamble . In the middle of the great depression this movie has had too many similar works through the years, but this is the definitive to date .
The supreme Goddess of the middle sixties Ann Margret and the masterful hand of Jewison makes of it a fundamental CD for your personal collection.

Don't waste your gambling money on this stinker
There is a reason this film (and I use that term loosely) has not been released on DVD.. I am a huge Steve McQeen fan, but this is a terrible movie... Poor Ann-Margaret..no wonder she never really was taken seriously as an actress.. This movie reminded me more a musical, without the music.. (Think "Showboat").. cheesey lines, uneven editing, hey the list goes on and on.. I know, the current poker craze has everyone jumping on anything having to do with the game.. but save your money.. this movie stinks.. ... Read more

Album Description

Asian only All Code / NTSC DVD. 1996 British film directed by the amazing Mike Leigh (Naked, Career Girls) & starring Timothy Spall, Phyllis Logan & Brenda Blethyn. Leonard Maltin said, 'Another of filmmaker Leigh's compelling portraits of ordinary people ... Read more

Reviews (49)

A triumph
A mild-mannered, intelligent young black woman (Marianne Jean-Baptiste) tracks down her birth mother, Cynthia Purley (Brenda Blethyn), who just happens to be white. That's only the central plot thread in Mike Leigh's very poignant, very funny, very smart family drama, which received well-deserved Oscar nominations for best picture, best director, best actress, best supporting actress, and best original screenplay. A keenly observed piece set in middle-class and upper middle-class England, "Secrets & Lies" offers such an abundance of riches it's hard to know where to begin.

The plot is fairly simple, though the emotions beneath it aren't. Cynthia is initially afraid to meet the child she gave up years ago, but eventually opens up and discovers that her long-lost daughter, Hortense, is not only a sweet and refined young lady, but the possible source of the love and affection she wants so badly. She receives none of that sort of attention from her other daughter, Roxanne, a bitter, sharp-tongued council worker who, like her secret half-sister, was conceived out of wedlock. Adding to the tension is Cynthia's relationship with her brother, Maurice, and his socially ambitious wife, Monica. The latter is pained by her inability to have a child, and particularly despises Cynthia, who is able to bear children but, in Monica's mind, unable to provide them with the family environment and opportunities that she can. All of these threads converge at an afternoon birthday party, during which all the pent-up secrets and lies explode like a sequence of fireworks. Emotions are laid bare, the past is revealed, and finally, the film hints, the healing process can begin.

A synopsis really doesn't do full justice to the sheer impact of this film. In fact, it's almost insulting--and irrelevant--to discuss plot at all. "Secrets & Lies" isn't about plot in the conventional sense; it's about people. Each character is a complex, fully realized human being, brought to life by superior acting. Brenda Blethyn in particular does a spectacular job, and her Cynthia emerges as one of the most hilarious, endearing, and noble human portraits I've ever seen captured on film. Marianne Jean-Baptiste has a less showy role, but she occupies it with equally genuine warmth and humility. The other performances are consistently excellent, with Timothy Spall (Maurice) and Phyllis Long (Monica), who play tortured but thoroughly sympathetic characters, among the standouts.

The actors are complimented by Leigh's superb direction. Each shot has clearly been carefully thought-out, but the camera is so unobtrusive, so casually observing, that it lends "Secrets & Lies" an almost documentary-like feel. And yet, Leigh's compassion for all his characters leaks through every frame. One of the best scenes in the film takes place in a teashop, with Cynthia and Hortense sharing a first meeting that moves from initial awkwardness to humor and hilarity, to intense sadness and finally to catharsis and relief. The scene is an unbroken, unedited single shot lasting for nearly eight minutes, and Blethyn and Jean-Baptiste sustain the dramatic tension for that long without missing a beat. It is a seamless culmination of acting, writing, and cinematography, and represents (I think) one of the most remarkable and honest shots ever committed to celluloid.

Therein lies the secret to the success of "Secrets & Lies"--every moment in the film feels real. That quality is aided by the fact that, as is the case in all of Leigh's other films, the screenplay is a collaboration between both writer/director and actors. The dialogue never sounds scripted or contrived because most of it has been improvised by the actors themselves; thus, it's no wonder that the characters all but leap off the screen, and that spending time with them is such an engaging and rewarding experience.

Some have criticized the film's overly "happy" ending, claiming that it feels a bit too pat to be real. I disagree. The conclusion, though admittedly more optimistic a resolution than most conflicted families can expect, remains utterly true to the characters' personalities and backgrounds. Actually, Leigh trumps the notion that all films attempting to illuminate the human condition must be overly bleak and pessimistic.

"Secrets & Lies" is not a fast-paced film, and at 152 minutes, it's quite long. It could have gone on for hours and hours as far as I was concerned. Mike Leigh has confirmed my long-held notion that American cinema could definitely learn a thing or two from the sure-and-steady British. Without a doubt, one of the best films, if not the best, of 1996.

"Why can't we share our pain?"
I would call this Mike Leigh's masterpiece, only I've seen many films by this brilliant director since screening this unfairly overlooked gem, and I feel ANY of his movies could be categorized as a "masterpiece".

The movie centers on a black woman named Hortense (the multi-talented Marianne Jean-Baptiste) who, knowing she is adopted, is in the process of trying to discover the identity of her birth mother. She finds her real mother, a lower-class white woman named Cynthia Purley (Brenda Blethyn). Cynthia, unaware that Hortense is trying to look her up, has a more immediate problem - a rebellious daughter, Roxanne (the unfairly ignored Claire Rushbrook), who has no respect for her because of Cynthia's many affairs. Cynthia is also trying to reach out to her successful photographer-brother, Morris (perennial Leigh favorite Timothy Spall), but she can't quite get close to him because of the influence of Morris's seemingly cold wife, Monica (Phyllis Logan).

If anyone knows anything of Mike Leigh's style of direction, you'll know why this film is so amazing . . Leigh doesn't simply write a screenplay and tell the actors what to do, he allows them to improvise and develop the characters themselves; the result is that these characters are more than just one-dimensional cardboard cutouts. ALL of these characters are unable to be categorized; they have characteristics that are UNIQUE and that make us care about them. Their complexity is illustrated not only in their actions and by what they say, but by what is NOT done or said in specific instances. ACTIONS of the characters are important (notice, for example, Hortense's inability to react emotionally, even in the family setting, or her reluctance to touch anyone). Another interesting feature is the way Leigh juxtaposes scenes of Morris taking pictures in his photography shop with the events of the story; we even become enamored by the characters that are seen only briefly, for a second, behind Morris's lens, posing for photographs. The cinematography also helps to add to the film's realism; it has a camcorder effect, without being at all shaky or deficient in sound quality.

Finally, the ending: Some may find the ending overly sentimental; I found it remarkably real (and nowhere NEAR as sugary sweet as those found in Hollywood films). Let me only say that it succeeds in that the viewer isn't given total resolution, yet he is given HOPE; these characters CAN work out their problems with each other, and it raises a question that I (as one who is no stranger to family feuding), find very convicting: why, in family situations, do people so often choose to alienate themselves and suffer alone (often even punishing their loved ones, as illustrated by Roxanne and Monica), instead of SHARING their pain and helping one another?

A great film . .worthy of much praise and able to withstand repeated viewings because of the depth of the story and the people involved. Here's hoping Mike Leigh will retain his style of filmmaking for years to come.

touching and realistic and simply incredibly little gem
This is a little known but absolutely wonderful film that, corny as this sounds, deserves to be shared by many.A small film about a family and the small day to day trials and tribulations they go through.It's very realistic and deals with the the most average everyday things.What makes this film so amazing is how it is able to present this window into the lives of this group of people with such wit and insight, sadness and honesty; ultimately resulting in a film which is tender and uplifting and hopeful.

Tha acting is simply awesome. No other words to put it.Everyone from Brenda Blethyn to Timothy Spall to Marianna Jean Baptiste, to Claire Rushbrook, all take turns stealing scenes in performances that are so natural and on point that at times, it doesn't even feel like they're acting. This is true acting that cuts straight to the heart.The script is wonderful in that it provides so many little details that one wouldn't think to include in a movie. Just the smallest things which somehow bring the characters to life.

A wonderful film that is never going to get any acclaim because this is all about the actors.No special effects or halle berry sex scenes. No way-this is an actor's film.And they steal the show.If you have taste in REAL cinema, do not miss this gem of a movie.IT IS SIMPLY WONDERFUL.

On How Life Is
This superbly acted and written drama is certainly one of the best british movies of the 90`s, dealing with human feelings and relationhips in an unique, realistic and powerful way. Like the best british movies out there, it wisely combines drama and comedy, creating a meaningful portrayal of life.

The story focuses a young black woman`s (Marianne Jean-Baptiste)quest to find her real mother who abandoned her as a child (Brenda Blethyn). Problem is, her mother`s life is currently a mess and that new element ends up generating some problems, conflicts and tensions in the family.

Mike Leigh`s direction offers time and room for his actors to develop the characters, creating three-dimensional individuals who seem real everyday people. The scenes are very well crafted, with close attention to detail and strong, credible dialogue. The performances are all terrific and natural, and the story flows well although the pace is a bit slow at times. It`s certainly one of the most interesting movies about family ties and the need of belonging somewhere, also focusing the differences and personality flaws that keep people away from each other.

At times sad and moving, in other moments cheerful and uplifting, "Secrets & Lies" presents the necessary but at times difficult experience of family reunion in a realistic way.
A worthwile, poignant drama with much to recommend.

One Lie I Wish Filmakers Would Stop Telling
I would be dishonest if I did not compliment Leigh and his cast on such beautifully acted roles interwoven in such a sweetly told story, but why on Earth do movie makers persist in using actors who so very obviously have two black parents to portray mixed race people? Jean-Baptiste's Hortense is superbly explored and bought to life, but as a parent of mixed race children I found it difficult to suspend disbelief in being asked to accept that she had a white mother (a sentiment echoed by many in the mixed race community). A trivial criticism most of you will cry, but this type of miscasting does a disservice to reality and serves only to propagate hypodescent myths regarding mixed race people. ... Read more

Reviews (114)

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

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

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

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

Groovy!

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

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

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

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

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

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

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

Reviews (20)

Don't Miss This One!
This is an excellent video that accurately depicts the highlights of the Biblical story of King David! Although it is a wonderful pleasure just to sit and watch, we have also used it for Bible study classes and found it an extremely valuable tool in understanding the many events that surrounded the life this man "after God's own heart". ENJOY!

Forget the Negative Reviews! It really is 1000BC!
Fantastic Art Direction, High Production Values, and a Superb Cast and Crew make this film the most visually accurate Old Testament Story ever given the Big Screen Treatment. Whoever was the technical advisor for this film did an excellent job in recreating the period. Edward Woodward is Outstanding as Saul (most of the cast is British, which lends a certain archaic dignity to the dialogue). Richard Gere also does a great job as King David.
If you have a passion for Biblical or Historical Epics - this one delivers! The battle scenes (which are very well choreographed), chariot charges, and of course the duel between David and Goliath are all 'edge of the seat', 'toe curling action'
I really cannot praise this film too much!

"a lamp unto his people"
When this film was released in 1985, the critics were not kind, but I love this film, and think it's a good telling of the story of David, based on I and II Samuel, I Chronicles, and the Psalms. Though much of it has been compressed (David's relationship with Bathsheba is limited mostly to the consequences of it for instance) and some creative license used for plot continuity, it has a tremendous amount of Biblical accuracy.
Taking place from 1000 to 961 B.C., the costuming, sets, and artifacts are fabulous; filmed in Pinewood Studios, U.K., and on location in Italy, the cinematography by Donald McAlpine is wonderful. The score is also lovely, by Carl Davis.

The brief nudity in the wedding chamber sequence has in my tape, been darkened so as to be imperceptible; either this is a flaw in the tape, or an effort not to offend and capture a wider audience, which would be silly, as this is a very mature drama. It contains much brutal violence making it unsuitable for children, and the confrontation with Goliath for example (which is exceptionally well done), is one of four beheadings.
Richard Gere is a marvelous David, and stands up well against an excellent international cast. He was thirty-five when this was filmed, and is about as handsome as a human has a right to be. The actor who shines above all though is Edward Woodward as Saul. He is riveting, and it's a brilliant character study of courage mixed with jealousy, revenge, and madness.

This is far from being a "Big Bible Epic" with lots of well known stars, instead it's serious and beautifully acted, and perhaps arrived on the scene at the wrong time, that it was so unappreciated two decades ago. Total running time is 114 minutes.
"It is through the heart, the heart alone, that God speaks to man".

Excellent and accurate biblical portrayal!
This biblical story recount of the lives of King Saul and King David were very true to what I have read in the Old Testament stories in the books of "Samuel" and Kings". Having Richard Gere portray the adult King David didn't hurt either!!! This is one of the better "bible" story movies I have seen to date. Thoroughly enjoyed seeing this biblical story "come to life" and Richard Gere is terrific in it! Lot's of action and well done!

Sucked!
This movie sucked! Everything about it was terrible. Some may also find it offensive for straying far from the biblical narrative. Although this movie is called "King David", the story bares little resemblance to the story of King David found in the books of Samuel and Chronicles. ... Read more

Description

Nothing was going to stop Roy Hobbs from fulfilling his boyhood dream of baseball superstardom.Robert Redford stars in this inspiring fable that begins when 14-year-old Hobbs (Redford) fashions a powerful bat from a fallen oak tree.He soon impresses major league scouts with his ability, fixing his extraordinary talent in the mind of sportswriter Max Mercy (Duvall), who eventually becomes instrumental in Hobbs' career. But a meeting with a mysterious woman shatters his dream. Years pass and an older Hobbs reappears as a rookie for the New York Knights. Overcoming physical pain and defying those who have a stake in seeing the Knights lose, Hobbs, with his boyhood bat, has his chance to lead the Knights to the pennant and to finally fulfill his dream. ... Read more

Reviews (97)

Coulda Been Great
THE NATURAL has some truly great elements, especially the much copied score, good cinematography, and some moments that almost capture the mythical quality of baseball. Unfortunately, it falls short of the greatness it should have achieved. Nevertheless, THE NATURAL is arguably one of the better films about baseball (along with "Pride of the Yankees"), and it's worth a look.

Robert Redford plays Roy Hobbs, a man who truly loves baseball. All his life, he's been poised for greatness, but life has thrown him for some loops. He returns to the game in his late 30s and gets a final shot. Redford is pretty good in the role, although he's really too old for the part. Barry Levinson directs, and his direction is unusally ham-fisted...he and the actors telegraph every plot twist. Glenn Close was nominated for an Oscar, but she really isn't that good as Hobb's long-time love interest. Ultimately, the movie is too melodramatic and unfocused with cardboard characters, especially the villianous judge.

Extras: The only real DVD extra is a documentary on the movie featuring Cal Ripken Jr. It's pretty good, more affecting than the movie!

A Classic Baseball Fairy Tale!!
This fictional 1920s fairy-tale-style film is about a guy named Roy Hobbs (played by Redford) who is a great baseball hitter... thanks to the bat which he made as a kid from a tree that was hit by lightning. Hobbs' career gets sidelined for about 15 years due to an "encounter" with a mysterious woman. The tragic results cause a dark spot in Hobbs' past. Now older, and considered over-the-hill by the baseball community, the sports press, and his soon-to-be manager (wonderfully played by Wilford Brimley), Hobbs unpacks his "Wonderboy" bat and proceeds to decimate ballfields at seemingly every at-bat! Filmed in a retro 1920s style, this is one of the best baseball films ever made. It's not a true story obviously, but you won't care. Was it his "Wonderboy" bat that made Hobbs a star?? Great music by Randy Newman too (high praise coming from me, since I can't stand Randy Newman). If you are undecided on purchasing this one, definitely rent it and check it out... you'll be coming back to watch this one again and again! A great film to curl up and watch with the kids too. END

The Greatest Baseball Film Ever
THE NATURAL, based on the book of the same name by Bernard Malamud, is probably the greatest baseball film ever produced. Why? Because it contains no magical realism, no "tricks," no "gimmicks." It's just a film about second chances and redemption, in this case, redemption through the game of baseball. THE NATURAL is not nearly as dark as the book on which it is based and it's not totally factual in its portrayal of baseball, but who cares? This film gives us something better than facts. It gives us the poetry and lyricism of the game, the magic that made baseball "America's Pastime."

THE NATURAL is the story of Roy Hobbs (Robert Redford), a Midwestern boy who dreams of being "the best" in the world of baseball. Roy's dreams aren't just "pie in the sky." This kid has talent, talent like no one's ever seen before. But, as he's making the trip to Chicago to try out, he encounters Harriet Bird (Barbara Hershey), an enigmatic and dangerous woman, and Roy's life changes forever. Sixteen years later, though, Roy Hobbs is given what most people can only long for, a second chance. Yes, this second chance requires a stretch of the viewer's imagination, but not so much that it becomes an impossibility.

I know many people didn't care for Robert Redford's portrayal of Roy Hobbs, but I thought he was perfect. He really makes us believe in Roy and in his dreams and in his principles. I can't think of any other actor who could have carried off this role and carried it off so perfectly. Wilfred Brimley is perfect as Pop Fisher, Hobbs' manager. Robert Duvall as Max Mercy is also perfectly cast as is a very young Kim Basinger as Memo Paris, the woman who wants to be Hobbs' nemesis "the second time around." I didn't particularly like Glenn Close as Iris, but that's just personal preference. Close did a very good job with her role but not quite as good as did Basinger and Basinger's was far more demanding.

There are few mistakes in the continuity of this film. At one point, while playing for the mythical New York Knights at Wrigley Field, Hobbs' hits homeruns in the bottom of the ninth. What? He wasn't traded to the Cubs, so this has to be an oversight on the part of the production crew since the Knights, as visitors to Wrigley Field, would bat in the top of the inning. There are a few other such oversights, but I don't feel they're worth mentioning.

THE NATURAL works, and works so well, I think, because it relies so heavily on mythology, most notably the myth of the Fisher King. It romanticizes the game of baseball. Sure, it's been romanticized before, quite possibly more than any other sport, but THE NATURAL does it so well that we do believe and we do root for Roy Hobbs and all he stands for. Make us believe? This film makes us believe like no other.

Levinson has changed Malamud's ending considerably, but I feel that's for the best. Had there been no departures from the book, Hobbs wouldn't have been a sympathetic character and the film would have been too dark and contained too much despair. As it is, we're left with the promise of better things to come and hope for the future, just what baseball gave us in the "good old days."

THE NATURAL may be dismissed as "hokum" by some but I think it's an American masterpiece and pure magic.

Redford to the rescue

Director: Barry Levinson
Format: Color
Studio: Columbia/Tristar Studios
Video Release Date: September 26, 2000

Cast:

Robert Redford ... Roy Hobbs
Robert Duvall ... Max Mercy
Glenn Close ... Iris Gaines
Kim Basinger ... Memo Paris
Wilford Brimley ... Pop Fisher
Barbara Hershey ... Harriet Bird
Robert Prosky ... The Judge
Richard Farnsworth ... Red Blow
Joe Don Baker ... The Whammer
John Finnegan ... Sam Simpson
Alan Fudge ... Ed Hobbs
Paul Sullivan Jr. ... Young Roy
Rachel Hall ... Young Iris
Robert Rich III ... Ted Hobbs
Michael Madsen ... Bartholomew 'Bump' Bailey
Jon Van Ness ... John Olsen
Mickey Treanor ... Doc Dizzy
George Wilkosz ... Bobby Savoy
Anthony J. Ferrara ... Coach Wilson
Philip Mankowski ... Hank Benz
Danny Aiello III ... Emil LaJong
Joe Castellano ... Allie Stubbs
Eddie Cipot ... Gabby Laslow
Ken Grassano ... Al Fowler
Robert Kalaf ... Cal Baker
Barry Kivel ... Pat McGee
Steven Kronovet ... Tommy Hinkle
James Meyer ... Dutch Schultz
Mike Starr ... Boone
Sam Green ... Murphy
Martin Grey ... Additional Knight
Joseph Mosso ... Additional Knight
Richard Oliveri ... Additional Knight
Lawrence Couzens ... Additional Knight
Duke McGuire ... Additional Knight
Stephen Poliachik ... Additional Knight
Kevin Lester ... Additional Knight
Joseph Charboneau ... Additional Knight
Robert Rudnick ... Additional Knight
Ken Kamholz ... Additional Knight
Sibby Sisti ... Pirates Manager
Phillip D. Rosenberg ... Pitcher Youngberry
Christopher B. Rehbaum ... Pitcher John Rhoades
Nicholas Koleff ... Umpire Augie
Jerry Stockman ... Umpire Babe
James Quamo ... Memorial Game Umpire
Joe Strnad ... Final Game Home Plate Umpire
James Mohr ... Al
Ralph Tabakin ... Al's Customer
Dennis Gould ... Carnival Boy
Joshua Abbey ... Home Plate Photographer
Gayle Vance ... Maid at Party
George Scheitinger ... League Official
Peter Poth ... Dr. Knobb
Bernie McInerney ... Hospital Doctor
Elizabeth Ann Klein ... Stern Nurse
Charles Sergis ... Newsreel Narrator
Edward Walsh ... Newsreel Presenter
Darren McGavin ... Gus Sands
Brian Reingold ... Baseball Fan

This film made quite a stir when it was released. One of Redford's better ones.

Roy Hobbs (Redford) loves baseball. He played in high school and the semi-pros, and was picked up and given a contract by a scout for the fictional big league team, the New York Knights. Of course, he is the best! A natural.

He has a problem with his past, which he is close mouthed about, but a corrupt club owner, the Judge (Robert Prosky), tries first to pay him to lose in the playoffs, and then tries to blackmail him, and to subject him to the wiles of a femme fatale. And, of course trouble comes in threes...it is also discovered that he had a bullet in his gut that could be fatal if he keeps playing ball. So, guess what? He keeps playing ball.

This is a good, entertaining story. Redford has a huge following, and for good reason. Normally, I'm not enamored of baseball films, but this is a good one. I recommend it to you.

Joseph (Joe) Pierre Great Movie
The Natural is the best baseball movie ever made. Great for everyone in the family. ... Read more

Reviews (282)

The Best Movie, Horror or Otherwise, of All Time
After having absolutely no sleep, I saw IWTV at 6:30 in the morning, and put off going to bed just to finish watching this incomparable movie. It is the singular best movie of all time. In a nutshell, Louis de Pointe du Lac, the younger vampire, struggles with regret about his killings after being "made" by Lestat de Lioncourt. I had heard in advance that Tom Cruise played an excellent Lestat, but when he appeared on the screen, I was shocked. He was a chilling, amazing character, virtually unrecognizable with fangs and blond hair. Louis, played by Brad Pitt, was occasionally whiny and melancholy, but he certainly fit the part. Stealing the show, however, was an extremely talented and extremely frightening Kirsten Dunst (at 12) as Claudia, the child vampire whose mind and soul matures, but whose body remains that of a 12-year-old. Louis's only love, she keeps him with Lestat in the immortal family. Antonio Banderas, as Armand, was also amazing, although a far cry from the auburn-haired, eternally youthful character of the book. I was inspired to read the novel by Anne Rice after finishing the movie, (I cried for hours at its end, partially because it was over) and it too was great. If only Tom Cruise was Lestat in the feeble Queen of the Damned!

Sumptuous, magnificent and mournful
INTERVIEW WITH THE VAMPIRE THE VAMPIRE CHRONICLES (1994) is that rarity in modern Hollywood terms: A star-driven blockbuster which uses the theme of eternal life to explore the meaning of existence and the nature of death and grieving. Based on Anne Rice's bestselling 1976 novel (itself written as a response to the death of a beloved child), the movie features two of contemporary Hollywood's most recognizable stars - Tom Cruise and Brad Pitt (both astonishingly beautiful here) - as vampire and willing victim, remaining eternally young as the world changes around them. Cruise plays a seasoned bloodsucker who revels in his own outrageous decadence, and his wilful excesses are roughly contrasted with Pitt's horror at the necessity of consuming human blood, until Cruise is forced to create another 'companion' for Pitt in the shape of a little girl (Kirsten Dunst) who subsequently refuses to grow old gracefully, leading to betrayal and tragedy. Scored with melancholy grace by composer Elliot Goldenthal (TITUS, FINAL FANTASY THE SPIRITS WITHIN), and beautifully designed (by Dante Ferretti, GANGS OF NEW YORK) and photographed (Philippe Rousselot, A RIVER RUNS THROUGH IT), the film's epic sweep carries its central characters through the social upheavals of 17th and 18th century America and the horrors of 19th century Europe, where a nest of ancient vampires (led by scene-stealer Antonio Banderas and a miscast Stephen Rea) wreak terrible revenge on those who transgress against vampire lore. But, for all its spectacle, director Neil Jordan (THE COMPANY OF WOLVES) - working from a script credited to Anne Rice herself - allows the story to unfold at a leisurely pace, providing us with a deliberate insight into the monsters at the heart of the story and the catastrophic events which shape their destinies. The film concludes ironically, with a 20th century invention (motion pictures) which allows Pitt to see his 'beloved sunrise' once more (illustrated with clips from the likes of SUNRISE A SONG OF TWO HUMANS, GONE WITH THE WIND and SUPERMAN!), and there's an incredibly moving sequence involving a once-proud vampire laid low by his own vanity. The mood is somewhat spoiled, however, by a silly trick ending which upsets the delicate balance established during the first half of the film. And, as with the novel, the homoerotic undercurrent is mere window-dressing, an unconsummated tease which the filmmakers (and Rice herself) refuse to explore in any detail, lest it frighten the mainstream crowd. Sadly, the film is dedicated to the memory of the late and much-lamented River Phoenix who died during pre-production, and his role (as the interviewer who provides one half of the film's title) was taken by Christian Slater.

Warner Bros.' Region 1 special edition DVD - which runs 122m 20s - is letterboxed at 1.85:1 (anamorphically enhanced) and features a range of extras, from trailers, commentary, documentaries and an introduction to the film by Jordan, Banderas and Rice. Sound format is Dolby 5.1 (with a DTS option), and English captions and subtitles are provided.

Movie Introduction to Anne Rice
A different view on vampirism, a city dwelling kind of vampire who enjoys the good life. Based on one of Anne Rice's several excellent books. Great acting by both Banderas, Pitt and Cruise. A pity they didn't produce any of the other books in this quality.

Marvlous!
This is one of my favorite films! absolutly wonderful. It's true to the book as much as possible, and really brings the emotion across. If you loved the book, this will be right up your alley!

different from the book, but just as good.
this movie was absolutely wonderful. presently my best friend and I are in the middle of reading the book, and still love both equally, but we've noticed all the differences too. if you don't want to know what happens in the book, don't read this book, only know that both are wonderful. In the book, Louis has no wife and child, he is instead mourning the death of his younger brother, who he believes he murdered. He becomes a cold shell of a man...etc. then the movie continues correctly. Louis, as a vampire, falls in love with Babette Franiere, a mortal who runs a plantation not 5 miles from Point Du Lac, Louis's old plantation. he helps her, gives her advice from the shadows. she learns of his true form, and calls him the devil and shuns him from her home. the movie continues. Louis and Claudia leave for Europe, they find that Lestat has sired (to turn a human to a vampire) another. The movie continues, but Louis and Claudia search all of Europe for vampires, but mostly all that they find are mindless killing machines. they finally reach paris, where they find: Theatre des Vampires- a play of vampires posing as humans playing vampires. other than these few differences, the movie is almost exactly like the book. but even with these differences, both are by far some of the best vampire lore/stories i've read/seen ever. ... Read more

Reviews (116)

Makes me happy every time!
This is an all time favorite of mine and absolutely guaranteed to lift my spirits each time I watch it.

Michael Douglas plays somewhat against his usual type as a likeable, widowed, well-meaning single father who is also the President of the United States, Andrew Shepherd. He becomes romantically interested in an environmental lobbyist, Sidney Ellen Wade (Annette Benning) which turns out to cause a lot of problems for both of them.

These two high-powered actors manage to humanize their characters into ordinary, likable people who are just trying to fall in love despite unbelievable opulence of surroundings, ugly political maneuvering and living inside a media fishbowl of publicity. Along the way, there are plenty of funny, heartwarming moments including a couple of very funny telephone calls. (Imagine what YOU would do if you suddenly received a call from someone who claimed to be the President of the United States)

David Paymer, Michael J. Fox and Martin Sheen are excellent in their supporting roles as advisors to the President and Shawna Waldron is wonderful as the 1st daughter.

If you love humorous dialog, beautiful, nearly fairy-tale settings and happy endings, be sure to see this movie. You won't be disappointed.

A fireball of fun from the start
Who would think that widower Andrew Sheppard's (Michael Douglas)decision to date Sydney Ellen Wade (Annette Bening) would cause such a scandal? Normally that wouldn't make every news reporter jump. Except when Andrew Sheppard happens to be the President of the United States and Sydney Ellen Wade is a liberal lobbyist. And did I mention that it is an election year?

As President Sheppard's character ratings falling from personal best 68% to the low 40's, his interests become torn between the crime bill (his top priority) and Sydney's-passing Energy Bill 455. And it is up to the White House staff members A.J. MacInnerey (Martin Sheen), Lewis Rothschild (Michael J. Fox), Leon Kodak (David Paymer), Robin McCall(Anna Deavere Smith) to help him maintain focus against his rival, Bob Rumson (Richard Dreyfuss)

Filled with humor and unforgettable moments, you will not be able to watch The American President just once. The word 'charming' does not do enough justice to this wonderful piece of work.

Just Average...
I found this film to be just average. The story is nice, but a little unbelievable and very predictable. These films are usually my type, but for some reason, this one didn't do anything for me.

ALL GLORY TO THE DEMOCRATIC PARTY!!!!!
TAKE THAT YOU BABY EATING REPUBLICANS!!!!!!!!!!!!!!!! SAME GOES TO YOU THIRD PARTY MEMBERS, ESPECIALLY YOU NUTTY, COMMUNIST LIBERATARIANS AND 'INDEPENDENT' VOTERS, MOST OF WHOM MOST LIKELY EAT BABIES AS WELL!!!!!!!! HURRAY FOR ENVIRONMENTALISM!!!!!!!!! HURRAY FOR HUGE GOVERNMENT!!!!!!!!! HURRAY FOR HIGH TAXES!!!!!!! HURRAY FOR THE AMERICAN PRESIDENT!!!!!!

I love the President!
I absolutely loved "The American President"! I thought all characters and the plot was great, as well as being written with humour and intelligence! Great acting, and wow is Michael Douglass a good president, not to mention a hunk! I'd certainly vote for him! ... Read more

Reviews (127)

One of the Best Movies of the 1990s.
Let me get this out of the way: in grade school, I was teased. A lot. In fact, it was so bad that even walking to school was an emotionally and physically painful experience. I can relate to every second of misery Dawn endures in the dynamite "Welcome to the Dollhouse." Most films like "Sixteen Candles" view high school as some insulated paradise. Not this film. Here, Dawn (played by Heather Matarazzo) is as socially inept as a pre-teen girl can be. She is subject to taunts, verbal assault, and vicious mind games at the hands of her classmates. Home life isn't much better; her parents blissfully ignore her while they shower attention on her cutsey younger sister, Missy. They give her attention only when they catch her doing something wrong, which seems to be most of the time. On top of this, she develops a crush for the teenage lead singer of her brother's band. Anyone who has experienced unrequieted love will find this subplot heartbreaking to watch. Despite the above, "Welcome to the Dollhouse" is a murderously funny movie to watch, even if you were a victim of grade school teasing. The performances are dead-on and it's one of my favorite movies of the 1990's.

A painfully honest film you will never forget
Bold, unabashedly honest, psychologically riveting, and painfully mesmerizing are just a few of the words and expressions that come to mind when I think about this uniquely extraordinary film. First shown at the 1996 Sundance Film Festival, Welcome to the Dollhouse walked away with the grand jury prize, and it is easy to see why. Writer/director/producer Todd Solondz brought a unique vision of the sharpest kind to this film, cutting right through the fluff of the typical "geek makes good" nonsense and forcing his artistic scalpel forcefully down into the nethermost regions of the adolescent heart. The story is so unsettling and painfully uncomfortable that some parents hesitated or refused to let their children participate in the filming. It's just an amazing, unforgettable movie.

Eleven-year-old Heather Matarrazzo gives one of the most remarkable performances I've ever seen from an actress of such tender age. Her eyes and bodily expressions encapsulate and transmit the hurt and misery writhing inside her every moment, leaving the viewer helpless to do anything but watch with increasingly unrestrained unease. Born with the unfortunate name of Dawn Weiner, the poor girl is ridiculed, ignored, teased, insulted, and basically mentally terrorized every day at school. Chants of "Weiner Dog" follow her throughout the hallways, her locker is marked with awful graffiti, and even her teachers and administrators are less than kind to her. Then, after school, she has to come home to parents who dote on her smart older brother and "little miss perfect" younger sister. Dawn has only one friend, a younger neighbor boy who seems to be following in her ignominiously alienated footsteps. Dawn does not escape all of this mentally unscathed, taking her own anger out on her sister in particular and doing several things that good girls should not do. In the most surreal of story elements, Dawn longs to be rescued from her situation by a boy, but hers is not a Cinderella type of fantasy. Her infatuation with a rebellious high school boy is somewhat understandable, but her relationship with a certain school bully is nothing short of surreal. I only wish I could discuss the psychology of this aspect of the movie in this context.

The one thing that really struck me about this movie is the fact that we never see Dawn cry; she internalizes all of her torments, and this does not have a pretty effect on her. I may be inventing a phrase here, but the director's vision seems to me to have been one of unsympathetic compassion. Far from holding Dawn up as the paragon of innocent, unrecognized virtue whose Prince Charming will come some day, he gives us a girl who becomes cruel in her own right to those few people around her, turning her hatred of others into a deep hatred of herself, several times teetering on the peak of mental unbalance. Solondz does not stray anywhere near the realm of fairy tale, as this ugly duckling does have an ugly side to her. The brutal honesty and lack of a visibly sympathetic portrayal of the character makes her worst moments even more unbearable to the viewer, and this is where the compassion kicks in. Solondz seemingly makes no effort to redeem this character in our eyes, yet the fact that he shows us, in such a harsh and brutal way, the miseries of this poor child's life makes her a character you desperately want to see find a degree of happiness.

The only thing I don't really understand about Welcome to the Dollhouse is the dark comedy label it seems to have acquired. I found nothing funny whatsoever about anything I saw here. Maybe that's the sensitivity of the former nerd in me, but honestly this movie is just utterly dark and depressing. Those looking for laughs will probably not embrace Welcome to the Dollhouse, but those who want to see the harsh light of truth shone into the bottom of an individual's soul and learn something from the painful experience will walk away from this film a different person than they were an hour and a half earlier. This movie has the power to touch you in ways you may never have imagined.

Everybody Runs Away....
Todd Solondz' WELCOME TO THE DOLLHOUSE was one of those films that was "on my list" for many years. I had seen his second film HAPPINESS and was intrigued by Solondz dark dark humor. Why it took me so long to take in another of his films is hard to explain. Every review I had read of DOLLHOUSE praised it (and even some reviewers who literally hated HAPPINESS were oddly touched by this debut film). Perhaps it took me a year or so to summon up enough strength to take another Solondz flick. Now that I think about it, such hesitancy only seems natural. As it turns out, however, biting as it is, DOLLHOUSE is still a heck of a lot easier to watch than its follow-up.

Perhaps it's because as some reviewers here suggest, we all have our own "inner Dawn Wiener." It's easy to identify with this ungainly, hopelessly unpopular teenager--with the awful barrettes and clothes, a brainy older brother, and pertly adorable younger sister. We can all cop to that one pretty much. (If you identify at all with the characters in HAPPINESS, you probably wouldn't want to admit it.) But I honestly don't think that Solondz' intent was to get viewers in touch with their "inner adolescent." He's going after something bigger than that--and more sinister too.

I guess it shouldn't be so surprising that many reviewers here identify with Dawn, but when they start calling the film "realistic," you have to wonder. If there was ever a film that was an exercise in pop SURrealism, this is it.
As a teen alienation flick, I'd rate it right up there with GHOST WORLD, and like that film, it has a distorted, fun-house-mirror quality--that is, I'll grant you, simultaneously more and less real that mere realism. (I guess that's the essence of SURREALISM). Dawn's parents, for example, are little more than cartoon figures--at least until her father has a near nervous breakdown.

And doesn't that reflect a teenage sense of reality even better than sheer realism, after all? Your average teen doesn't see his or her parents as full-fledged human beings. They're way too busy with their own boiling over emotions. Until their parents humanity hits them in the face, kids see them through the looking glass, darkly--if at all.

Which is not to say that either of Dawn's parents becomes remotely sympathetic. Interesting too how in the end, Dawn's two almost-boyfriends have run away to the city. Dawn kinda sorta runs away herself trying to track downr her kidnapped little sister. Seems like anyone with a lick of sense gets out of that town.

realistic account
welcome to the dollhouse is a touching and realistic account of what its like to be on the outskirts of growing up. dawn is a young gyrl trying to fight her way in. she deals with bullies, her parents rejection, and her own self hate. the film has its funny moments such as dawn standing over her sleeping sister's bed with a hammer in her hands. the character of dawn is well played but barely develops. brendon sexton jr plays brandon, a bully in his own right but has feelings for dawn. his role is small but quite significant. dawn's family is very unlikeable strictly because of their arrogance and complete disregard of dawn.
overall the film is good. you will find yourself not only sympathizing with dawn but may find her angst and vulnerbility alittle like your own in the often harsh world of growing up. the ending could be better; it leaves you wondering about alot of things. but despite the ending the film is heartfelt and very satisfying.

Painfully realistic
I felt like switching this movie off a lot of the time. Having been where Dawn was throughout high school, I didn't think it was possible for me to watch right to the end. I was told that this movie was the story of my life. Not quite. But I did identify with some parts - Dawn being called a loner, her looks, being called ugly. But what really upset me, was the director heavily focusing on looks in the movie. I don't know why I still get upset over that kind of thing in movies. And the fact that Dawn does exactly what everyone does to her - she turns round, and says hurts them. But that's cos she's been bullied herself, so effectively, she turns into the bully.

But of course, we've all been there, haven't we? Don't say you haven't, go and dig out your old photo album. Look at the dorky hair, clothes, teeth in bad need of a brace - I could go on. And we've all had that embarrassing, awkward first kiss - I've NEVER put a spell on a guy just to make him like me! (It wouldn't work, believe me)

Heather Matarazzo, although quite pretty now, is probably always going to be cast in "character" roles, than anything else. What I really hated was where were all the kids with bad skin?! Even Dawn had porcelain skin. It's not fair, nor is it true.

Dawn was made to look all the worse, by constantly having her hair scraped back, made to wear god-awful clothes, and those terrible clothes (although I found an old pair of glasses when cleaning out my drawers - did I wear those?!)

This is a good film to watch, although I can't see myself touching a guy with a bargepole who bullied me, or called me names. That bit just didn't ring true. It's not a film I would watch again, it upset me that bit too much. But it's worth having a look at if you can get your hands on a copy. ... Read more

Reviews (85)

Based on a true story....
Working undercover as a jewel dealer Joe Pistone (Johnny Depp) earns the trust of Lefty Ruggiero (Al Pacino). Lefty vouches for Joe and brings him into his mob family. What was supposed to be a three-month assignment for Joe turns into several years. Joe begins to drift away from his own family and deep into the mob. He and Lefty form a strong bond and a father son relationship. When the investigation is coming to an end Joe realizes that his only way out of the mob is to betray his friend.

The film is presented in 2.35:1 anamorphic widescreen. It is a very nice transfer the only flaw I noticed was a hint of grain occasionally. A Dolby Digital 5.0 audio track is provided. The surround speakers are hardly used. When they are its mostly only for music. With a movie like this that is mostly dialogue its understandable. This special edition DVD has several extras. The highlights are a director's commentary, two featurettes, deleted scenes and trailers. The featurette titled "Donnie Brasco: Out of the Shadows" was excellent. It gives a lot of background on the film and contains several interviews with the cast and crew. The deleted scenes are nice to see but I can understand why they were cut from the film.

For those of you thinking this is just another mob movie, you are wrong. Instead of showing the top of the crime family tree like many other films this one shows the bottom. It shows soldiers that are scraping at the bottom of the barrel and are just trying to make ends meet. This is a film that stands on its own on many levels. It was perfectly cast with Johnny Depp, Al Pacino, Michael Madsen and Anne Heche. If you like mob movies or just fine acting this is one film you need to see.

A Mobster Masterpiece Worth Watching Over and Over Again
Based on a true story that is so amazing and shocking, "Donnie Brasco" is a fantastic film that hooks you from start to finish. With stars like Al Pacino, Johnny Depp, Michael Madsen, and many more, this is a movie that should be seen by all.

FBI Joseph D. Pistone is an undercover agent who's goal is to get into the violent and unpredictable mob world. He goes the by name of Donnie Brasco. Soon he is discovered by Lefty Ruggiero, who sees potential in the kid, not aware of who Brasco really is. He brings him into the family and the world of the Mafia. It doesn't take long for Joseph to get so deep into the action that he starts to become one of them. This unforgettable picture shows us that sometimes you can become what you chase if you're in too long, and that in order to catch a monster you may become one yourself in the process.

I became addicted to this film in no time. It's one of my favorites that I have seen over and over again, and it hasn't gotten old yet. The acting and directing is all fantastic. Al Pacino really shines, as always, and Johnny Depp gives an Academy Award performance as the FBI agent. He actually spent time with the real Joseph Pistone to get his character down, as he did when he was working on "Fear and Loathing in Las Vegas." Michael Madsen is also terrific and can once again send chills down our spines just as he did in "Reservoir Dogs."

This new special edition of the DVD is much, MUCH better than the original. First off, the sound and picture quality has really improved. Especially the picture; it looks a lot better than the first version that came out. There are also a lot of extras, including features such as director's commentary, and exclusive featurette, the original featurette, deleted scenes, trailers, and more. The featurettes are very interesting and makes the DVD that much more special. A very high quality special edition, if you ask me.

All in all, "Donnie Brasco" is an outstanding picture on all fronts. Filled with drama and suspense, this is a film that will take you deep into the world of the Mafia. The only question is how far would you go? And would you risk becoming one of them when it's all said and done? Excellent all the way!

More of the Same
There are so many great mafia/mobster movies out there. This aint one of them. Slow and preachy. Pacino plays a schmuck and Depp's character must have rocks in his head for going undercover. Kind of dull.

Finally we know what 'fuggedaboudit' means
Donnie Brasco is based on a true story but it is still gripping. Donnie Brasco is the alias of Joe Pistone, an undercover agent. He joins the mob as a help of Lefty played by Al Pacino. Pacino again plays a great mobster. This time as just a spoke, and sometimes not very smart.

But DB gets so involved that he does not know on which side he is, that is what loyalty does to him. Even his marriage is almost falling apart.

Depp and Pacino are of course brilliant as ever and this is another great maffia movie like Goodfellas are the Godfather.

Great Movie
Al Pacino learns what its like to be Fredo Corleone in this movie..being stepped on, stepped over, getting no respect, and finally getting killed by people he trusted...he plays a loser trying keep his head above water with great conviction. Johnny Depp holds his own on the screen and gives another great performance as well.. ... Read more