Reviews (4)

Good, old, HBO horror series
They really should bring this series back. To those of you who have been living under a rock for the last 16 years, this is basically a very good, revamped-gory version of the twilight zone. Some great short horror stories!
Side note: I still have the old Crypt keeper dolls (still in their boxes) in my closet. I bought them at Spencer's gifts ages ago, maybe someday they will be worth something.

"Mirror, mirror on the wall. Who's the FEAREST of them all?"
Welcome to my review, horror freaks! So glad you could join me and read about the 6 eerie episodes of HBO's "Tales from the Crypt," the very ones that helped the series rise from its tomb back in 1989. It's been 9 long years since the show went off the air, and until now, I've been waiting for the Crypt Keeper's putrid puns and awful alliterations to be forever preserved on DVD format. And why not? The show lasted a full 7 seasons and featured many of the biggest actors and directors in Hollywood. Each tale carefully incorporates the grisly black humor William M. Gaines EC comic books, which were almost banned in the 1950's. Did I say 'almost?' Anyway, as other HBO programs like "Dream On," "Deadwood," and "Carnivale" were packaged and displayed on Best Buy shelves, I wondered if "Tales" would ever be among them. Well, the time has finally arrived, creeps! As stated by John Kassir himself, Warner Brothers wisely chose to create these discs so we ourselves can scare the next generation of kiddies to come. Even better is the fact that the second disc of this Season 1 set will contain a sickening array of never-before-seen extras. I don't want to give the surprises away, but I will briefly tell you the stories you are about to see. Enter, if you dare!
"Dig that Cat...He's Real Gone" stars Joe Pantoliano as Ulric, a homeless alcoholic who becomes a rich and famous sideshow performer after a mad doctor (Gustav Vintas) surgically implants a cat's gland into Ulric's brain. This procedure allows him to die and return to life nine times. Morbid hilarity ensues as a carnival barker (Robert Wuhl) presents Ulric the Undying to astounded audiences who watch him get electrocuted, hanged, drowned in a tank, and shot with an arrow (among other things).
In "The Man Who was Death," Bill Sadler (who eventually starred in the 1995 Tales from the Crypt film "Demon Knight") plays Niles Talbot, a state executioner who loses his job after spending 12 years pulling the switch. This resulted because the government unexpectantly repealed the death penalty. However, not wanting to abandon his favorite occupation, Niles drifts to the other side of the law by killing criminals who were acquitted by the courts.
The frightening and festive "And All Through the House" stars Mary Ellen Trainor as a devious housewife named Elizabeth, who brutally bludgeons her husband with a poker to collect on an insurance policy. Just when she is ready to eliminate the corpse, a homicidal maniac donning a Santa Claus costume (Larry Drake) terrorizes her with an axe. Even worse, Elizabeth can't call the police for fear of being convicted of first degree murder and losing custody of her daughter.
Vanity and greed play a central role in "Only Sin Deep," a tale about a street prostitute named Sylvia Vane (Lea Thompson). After killing a pimp and stealing his gold jewellry, she willingly sells her beauty to a strange pawnbroker (Britt Leach) in exchange for $10,000 cash. At first, Sylvia wins over the affections of a suave playboy millionaire. But immediately afterward, as a result of some black magic performed by the pawnbroker, she gets increasingly distraught as her face quickly ages. Desperate to buy back her looks, she shoots her rich lover dead, but is then forced to avoid prison by staying ugly for life.
Prepare for a honeymoon hell in "Lover Come Hack To Me." Here, a cunning bachelor named Charles (Stephen Shellen) marries a naive Peggy (Amanda Plummer) for her inheritance money. On a rainy night, after accidentally getting stuck in an abandoned mansion, the two go up to the bedroom and make perfect love for the very first time. Originally, Charles was going to kill Peggy and stage the crime to look like a burglary. But he soon discovers that her family history is cursed, and that much darker skeletons lie in the bride's closet.
Last but not least is one of my favorite episodes, "Collection Completed." M. Emmet Walsh plays Jonas, a grouchy tool salesman who finally gets to retire after 47 years on the job. His slightly odd wife Anita (Audra Lindley) has developed a fondness for pets...alot of pets. In fact, she keeps a zoo-full of cats, dogs, and birds in the house. On top of that, she talks to squirrels and runs an aquarium in the bathtub. Obviously, such an attachment to animals is enough to drive Jonas up the wall! Inevitably, he gets sick and tired of not having enough attention, and he gleefully takes up taxidermy as a hobby. But those poor animals weren't the only living creatures that ended up getting stuffed.

Tales from the Crypt
I have written HBO countless e-mails over the years begging for this dvd set. I never received one e-mail response from HBO. Oh, well. I really did not expect one.
This is one of the best horror shows, period. Some of the top horror/adventure writers and directors wrote and directed these episodes. I believe this series ran for seven seasons. This can be intense stuff, not for children because of the nudity, sex, graphic violence, superb gore effects, language, and more. Some of these stories are truly the stuff of nightmares. They will haunt you.
If you have never seen Tales from the Crypt you are in for a treat, if you are a fan of horror. Go to your local book store and pick-up a trade paperback of the old EC comics these stories are based upon to get a feel for the translation from comic book to television show. Wait until you meet the Cryptkeeper, who introduces each episode, for a meeting of the surreal and insane and just plain weird. And, you will see some big name stars come to fantastic demises. Just wait, you'll see.
Now, where are Tales from the Darkside and Friday the 13th the series. These are two more violent horror series from the pre-politically correct present day.

Great Series Finds It's Footing In A TV/DVD Obsessed World
Yes, It has finally happened: Warner Bros./HBO Productions has announced that a 2-Disc, First Season set of "Tales from the Crypt" will be released on July 12th. The first season consisted of six episodes that fit quite nicely on this set's first disc. They are: "The Man Who Was Death", Dig That cat...He's Real Gone", "All Through The House", "Only Sin Deep", "Lover Come Hack To Me", and "Collection Completed". The second disc will hold bonus features that are rumored to include 2 Featurettes: One on "Tales From Comic Books To Television" and the other on "The First Season's History." Plus a new introduction by "The CryptKeeper"(John Kassir). Now this has not been confirmed, so it's pretty much a rumor but these are the possibilities. So far, there is no cover art or any other materials but stay tuned to tvshowsondvd.com for more news info which should be coming soon! Tales From The Crypt: Season One, July 12th! ... Read more

Amazon.com essential video

Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial bestseller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism, and Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by satanic disfiguration. One of the most frightening films ever made with a soundtrack that's guaranteed to curl your blood, The Exorcist was mysteriously plagued by troubles during production, and the years have not diminished its capacity to disturb even the most stoical viewers. Don't say you weren't warned! --Jeff Shannon ... Read more

Reviews (640)

4.5 out of 5
Thirty years after it's release, THE EXORCIST remains the scariest film of all-time. Adapted by William Peter Blatty from his own novel, this legendary horror flick follows the difficulties of a mother (Ellen Burstyn) whose 12-year-old girl (Linda Blair, in her biggest performance) becomes possessed by the devil, and how the mother discovers that the only way to save her daughter is an exorcism. There is frightening directing by William Friedkin (THE FRENCH CONNECTION), a very short by haunting score by Jack Nitzsche, and great performances by Burstyn, Blair, Jason Miller, Lee J. Cobb and Max von Sydow. To add to that, there's horrifyingly realistic special effects (by Marcel Vercoutere) and eerie cinematography (by Owen Roizman). Now we also have "The Version You've Never Seen" - which, hopefully you have seen, because it includes ten minutes of new, terrifying footage. Once you've seen, the film's hundreds of ghastly images will never leave your mind. Simply put, THE EXORCIST will live on to horrify us for generations to come.

The best horror movie ever made!
The Exorcist is one of those rare finds. It is a superbly crafted film with a great story and top-notch acting and it also manages to scare the "you know what" right out of you. The thought of the demonic posession of a pre-teen girl is too much for most people to ponder rationally. Yet somehow, William Friedkin (making the movie from the gripping page-turner written by William Peter Blatty) presents this tale in a straight forward manner that doesn't flinch in it's ability to deal with this horrifying subject matter. Contrary to what some people have mentioned the special effects are NOT dated. They are still some of the best effects created in Hollywood. (Perhaps minimalist by todays standards which make them even more incredible).
Highlights of the DVD are the soundtrack, which you'll be scrambling to turn down if you have a home theater system, and the documentary about the making of the film which highlights the many challenges the crew encountered and some of the eerie things that took place during the filming. Look for the infamous "Spider Walk" scene which was left cut on the editor's floor.
Some people I know still refuse to watch this film on its reputation alone. Don't be one of them. You'll be missing one of the best films made in the 70's and without a doubt the greatest horror movie of all time.

The Best and Original
This is probably the best horror film to date, still an excellent movies even though the effects are dated. It destroyed (Linda Blair's) the little girl's career as an actress because people were never able to disassociate her with the possesed girl. She was only 15 when she made the movie.

Still packs a punch
It is easy to banter around a movie as being the scariest ever made. Buy this movie actually lives up to the billing and should give shivers up one's spine unless one is already dead. The soundtrack is outstanding in setting the mood of the scenes. I saw the original movie when it first came out (amidst the tremendous controversy) and found it gripping. Of the added scenes, I will agree that the change to the ending was unnecessary. In the years since it was made, it has lost none of it's punch and is a very powerful and well crafted movie. My first DVD had to be replaced (it contained blank portions while the sound continued)and the replacement sometimes did not want to load. But once the movie started, it is one of the best to put one on edge. Sometimes, the medical scenes were more chilling than the possession scenes.
The cardboard DVD case, however, merits a thumbs down from me.

Misplaced images on the walls.
A great artistic masterpiece, with acting and scenery so sincere and genuine it all feels documentary.

The only good about the "Version You've Never Seen" is the added spider-walk scene which is very creepy; although it may be so strong that it attracts too much attention to itself, causing some unbalance in the film.
The added images on the walls I can't understand why they did. Demon manifestations don't live a life by themselves, they are primarily inner states of a person that are then projected and manifested without for the person. (I have had my own experience of this through a harrowing experience, when a cat which I was unable to help died a painful death before me; afterwards a demon visage appeared in the light from a candle, that was shining and reflecting through a glass, forming a picture onto the table before me. Looking into its eyes and raging mouth I stared right into the Abyss. It was no imagined thing, since I consciously noticed that it had the correct anatomy of an actual head.)
Furthermore these images on the walls, which are really only for the audience's eyes alone and not relating to the actors in the movie, make me think of the interactive computor-games of our modern age, where the viewer is part of the events on the screen. Such added new visual cosmetics really doesn't belong in a 1970s movie.

I recommend the 25th Anniversary Edition, which is the original version. It is also better paced. Another added scene in "The Version You've Never Seen" is of Regan's first visit to the hospital for tests; it comes too abruptly, and Regan being in her mother's bed, telling her that she couldn't sleep because her own bed was shaking, doesn't really seem to warrant it. ... Read more

Reviews (113)

Still no DVD for one of the greatest crime movies in history
This is Friedkin's masterpiece and one of the greatest crime movies of all time, still horribly underrated since its box-office (half-)failure in 1985. It's even more underrated than the (good) novel it's based upon, written by Gerald Petievich, a former FBI special agent. And it's so underrated that there's still no DVD of this film released, despite its high success in VHS. Frankly, I don't understand...

Everything is surprising, everything is amazing in this movie: the first roles played by unknown - but far from bad - actors, the dark atmosphere of L.A., described as a decadent, upside down city, as fake as Masters' counterfeited bills, the haunting soundtrack composed by the Wang Chung band - hear 'City of the Angels', 'Dance all Days' and 'Wait' -, a strong editing by Bud Smith, a great photo by Robby "Paris, Texas", "Ghost Dog" Muller and of course a superb directing, despite the low budget.

As underrated as the movie, William Petersen, in his first leading role (four years after an appearance in Michael Mann's first movie, "Thief"), is perfect as a 'kamikaze' cop, who breaks the law to revenge Jim Hart, his master, partner and friend. His confrontation with great Willem Dafoe, as the charismatic, cool, pervert gangster, is the most interesting aspect of the movie. After "To Live and Die in L.A.", Petersen played Will Graham, the very first 'profiler' in movie history (created by Thomas Harris in his cult novel, "Red Dragon"), facing Hannibal 'The Cannibal' Lecter in Michael Mann's "Manhunter". And after that - and despite his starring status in blockbuster series 'CSI' -, nothing, not one single main part in movies... Can this be explainable? The car chase (the one of the 20th century!) is perfectly shot and edited, with plenty of malice, easily beating the ones in "Bullitt" and "The French Connection". But the most surprising film is that final sequence, showing the main character shot in the face... a unique plan in history.

This is a masterpiece that frankly deserves a DVD release, more than all the zero movies released every year. I got it in VHS and I've been waiting for many years now. But we have to say that William Friedkin doesn't need such a release: the DVD of his "Exorcist", still among the top list about thirty years after the film came out in theaters, seems largely enough...

Such a shame. All we can do is 'Wait', as the Wang Chung band singer says in the end...

It is about time!!! GREAT MOVIE
Richard Chance ( William Petersen), is a member of the Secret Service who loves to live on the edge, and play by his own rules. Eric Masters ( Willem Dafoe) is a master at creating counterfiet cash, and is at the top of the agency's most wanted list for killing Chance's long time partner. Now Chance is willing to do whatever it takes to take Masters down, and the line between cop and criminal is starting to run thin. Both Chance and Masters waver on both sides of the law, as they take us on a cat and mouse chase through the streets of L.A. that is extremely suspenseful and never lets up!

"To Live and Die in L.A.", has to be one of the most suspenseful and action packed crime films that I have ever seen. Director William Friedkin is best known for the films "French Connection" and "The Exorcist". However, this has to be his best film. This is the first crime film that I have ever seen, that deals solely with the Secret Service, and NOT the FBI, CIA, or the police. That alone, makes it original. Not to mention the fact, that this is the only crime film, where the hero of the story has traits of a villan and is vulnerable. Some of Petersen's actions are actually questionable. William Petersen is an outstanding actor , and I have enjoyed all of his films. Secret Serive Agent Richard Chance, is one of his best characters by far because he loves to live on the edge, and plays by his own rules. Willem Dafoe is amazing in everything he does, and Eric Masters is one of his best roles. Masters is the story's villan, who is cold, calculating, highly intelligent, charming, and extremely ruthless! You don't know whether to like the guy, or hate the guy. John Turturo and Dean Stockwell are also both outstanding in their roles. This film also has one of the most surprising and disturbing endings that I have ever seen. The soundtrack is also amazing. It is basically a Wang Chung's Greatest Hits CD. Wang Chung is one of the best 80's groups of all time. Every song used is perfect, and really drives each scene.

In my opinion, it will be extremely difficult to find a crime film better than this one. Everything about it is perfect. The story is EXTREMELY original, the acting is phenomenal, the overall suspense will keep you on the edge of your seat, and the soundtrack is amazing. All I can say, is that it about time that this film was released on DVD. An absolute must buy!!

Living And Dying Again
Director William Friedkin, the man who brought us The French Connection and The Exorcist, fell into a bit of a slump after those box office successes. To Live And Die In L.A. was the shot in the arm he needed. And while the movie is not perfect, it's still very good, and worth your time.

When a notorious, highly sophisticated counterfeiter murders his partner, Secret Service agent Richard Chance (William Petersen) launches a furious vendetta to capture the man responsible. But master counterfeiter Rick Masters (Willem Dafoe) is always just one step ahead of Chance. Clashing with one bureaucratic road block after another, Chance is forced to break the rules in order to obtain enough cash for a sting operation, in the hope of bringing Masters down. The risks he takes soon spiral out of control though, leading to a wave of violence with moral reprecussions, taking Chance down to a morally ambiguous road from which there may be no return.

One of the things that makes To Live And Die In L.A. work is the fact that the hero isn't exactly a saint. In fact, he can be as "dastardly", as the villian of the film, doing things that are just as awful. Petersen goes to those darker places and gives a great perfomance. Based on Gerald Petievich's novel, the script, written by Friedkin and Petievich, allows for plenty of drama and action. As director and the "father" of the modern car chase, Friedkin almost tops the one he crafted for the aforementioned film, The French Connection...Almost.

For its DVD debut, MGM has put together a nice special edition, complete with some fine extras. The talky audio commentary from Friedkin is a good...but I wonder if it wouldn't have turned out better if Petersen sat in for it as well? The 30 minute documentary,"Counterfeit World: The Making of To Live and Die in L.A." is a nice retropective--some info from the commentary is repeated here though. There's also a deleted scene and the very controversial alternate ending, that caused a stir at the time in '85, for all to see in a featurette. A photo gallery and the theatrical trailer top off the bonus material.

As I said at the outset, To Live And Die In L.A., is well worth a look, for both fans and newcomers alike.

DVD Edition leaves out too much of the original! Beware!
Having seen the movie To Live And Die In L.A. many times on VHS, I was very anxious to own a copy on DVD. Clearly the picture and sound quality have been improved.

However, what I did not expect was for the studio to cut out so many important and pivotal scenes that are essential to develop the story and its characters.

They have BUTCHERED this film when they re-produced it on DVD, and I feel like I have been ripped-off.

I sincerely hope the producer and distributors of this DVD are notified of this gross error in judgement and re-edit the film to include the key scenes that were omitted.

It is truely a shame that they have ruined such a terrific movie classic!

YAY
I actually bought my dvd back in January, and it was a case of me walking by telling my friends about this movie (which they had never heard of) and lo and behold, there it was!!! I saw this movie probably a year after it came out and was VERY EXCITED to see it finally released on DVD (i could never find the VHS version anywhere anymore).
This has got to be one of my favorite movies of all time ( i have been a William Petersen fan since this movie and Manhunter) and the soundtrack score just adds to it! I do plan on ordering the soundtrack very soon! This is one of those movies that if you have seen it, you have a great appreciation for it. Too bad it didn't get the respect it deserved for it's time, but for those who do remember it and love it, continue to enjoy it!! I know I will! ... Read more

Reviews (127)

Worth Your Contemplation
This movie will make you think. What exactly are "rules of engagement" in battle? Can rules even apply to conflict?

Tommy Lee Jones and Samuel L. Jackson are both excellent as veteran Marine soldiers fighting the battle of their reputations. Incidents occur in Yemen that unfortunately result in civilian deaths. So who takes the blame? Soldiers. This film brings to light the willingness of civilian judgement against someone volunteering to fight for his country. I don't think a bunch of desk jockies should have that right considering they have never faced a loaded gun and a moment to make the decision of their lives. This film will make you think about your own judgement and about the information you receive.

William Friedkin directs this film with an easy hand, allowing the actors to carry the movie rather than a bunch of guts and glory. Although it was released in 2000 the events are very much related to today. Consider the court marshalls currently taking place against our soldiers in Iraq. Who is to say what rules exist for a young man or woman prepared to die. We know scapegoats exist if only politicians would take their share of the blame. Is it even possible to have rules when some people are immune to following them? Soldiers aren't playing a game that can be replayed for fairness, if they were none of them would ever die would they?

Stellar Performances Spark Thought-Provoking Drama
"Rules of Engagement" is a terse and tough drama that opens in the Vietnamese war and moves to the Yemen of today in a story that could easily have been ripped from today's news stories. Samuel L. Jackson is accused of ordering his Marine troops to open fire on a group of men, women and children who were allegedly peacefully protesting at the American Embassy, and murdering eighty-three of them. He enlists his Vietnam buddy, Tommy Lee Jones, to come out of retirement to defend him and save his career and reputation. The story moves along at a rapid pace, sparked by outstanding performances by Jones and Jackson. The many close-ups of their endlessly subtle reactions create a powerful effect and draw you into the drama. The story itself is thought-provoking and challenging in that it asks the viewer to draw his or her own conclusions regarding right and wrong in the Middle East. Blair Underwood is on deck to deliver an excellent two scene tour-de-force; he is well on his way to becoming one of our finest younger actors. Ben Kingsley and, especially, a notably de-glamorized Anne Archer, also provide high points. Director William Friedkin keeps things moving right along with his hand on the pulse of the story throughout. Well worth the time.

Engaging
The framework in which this story is centered around is quite compelling: an American embassy in a 3rd world country is being besieged by an angry and volatile anti-American mob. A security detail from a Marine Expeditionary Force (MEF) is called in to defuse the situation. From that point onward, utter chaos breaks out.

In this day & age the scene of the mob is sure to be quite gripping to any American viewer. This is especially the case given the fact that we've had several embassies overseas bombed in the past 10-20 years. Ever since 9/11 it has been exceedingly difficult to have a whole lot of sympathy for anti-American mobs, regardless of where they are.

While the film examines nicely some of the ethical intricacies of combat, the major flaw is that there is a rather large hole in the plot that even the least clever moviegoers will be able to point out. As the rest of the movie is pretty good, the best thing to do is to try and overlook this unfortunate inconsistency.

Another facet that strikes close to home is the cover-up attempts of the State Department. Not only is this plausible, but it is downright realistic. Few people with morals work for the State Department and the history of the department is filled with cloak-and-daggar silliness.

In all, this is an entertaining movie that compels one to think. It would have been a great movie, if not for the hole in the plot. It is a story that reminds us that the rules that govern war according to the Geneva Convention were written by lawyers who sat in the comfort of debate tables and not battle-hardened soldiers on the front-lines who get shot at on a daily basis.

Disgraceful!
This is a piece of disgraceful American jingoism, implying that all Arabs are evil, and that only the US can save the world. And the inference is that it's a true story - IT'S NOT! It's Stars and Stripes fiction of the most racist kind. And to cap it all, it's a huge waste of talented actors. It's the responsibilty of reasonable people to make sure that the young and naive never see this tripe. They could end up believing it's true.

William Friedkin is a Man of Honor
Within the sanguine moral abyss of combat, lies the grey zone. William Friedkin peels back the souls of men like a savage karmic banana, embedded with the shrapnel of moral ambiguity, the kind that fuels the war machine. And caught in the middle are the Marines, elegantly exemplified by the firebrand conviction of Samuel L. Jackson and the decency incarnate Americana personified by Tommy Lee Jones. Under the hands of maestro William Friedkin, "Rules of Engagement" proves that only honor survives amongst the ashes of men. ... Read more

Reviews (74)

4.2 out of 5
Adapted from Robin Moore's fact-based novel, THE FRENCH CONNECTION was the breakthrough film for both direction William Friedkin, who later went on to direct THE EXORCIST, and Gene Hackman. Hackman stars in his Academy Award-winning role as "Popeye" Doyle, a New York City cop who, along with partner "Cloudy" Russo (Roy Scheider), stumbles upon a drug ring headed by a Frenchman (Fernando Rey) who uses an innocent-seeming actor (Frederic de Pasquale) to cover the operation. Along with Hackman's forementioned award for "Best Actor", the film also took in Best Director for Friedkin; Best Film Editing; Best Writing (Ernest Tidyman) and a deserved Best Picture. The chase scenes are outstanding and some of the best ever filmed; Hackman is excellent in one of his greatest roles. Action fans won't want to pass this one by; followed by FRENCH CONNECTION II and a floppish TV movie.

Still love that car chase
It's getting a tad frayed around the edges, but "The French Connection" has stood up remarkably well over thirty years, thanks largely to a great cast, a great director (William Friedkin) and a crackerjack plot - not to mention the mother of all car chases. Only Gene Hackman could have played Popeye Doyle, a straight-up jerk whose bull-in-the-china-closet operating method rolls over everything in his way, including his own colleagues. Playing his partner admirably well is Roy Scheider as Buddy Russo, whose patience at Doyle's antics sometimes wears as thin as the soles on his shoes. The two of them are narcs, and they are out to intercept the arrival and distribution of a monster shipment of heroin from Marseilles by a drug kingpin named Alan Charnier. The movie zips along as Doyle and Charnier attempt to outwit each other; one of the best sequences in the film is Doyle following Charnier along the streets of midtown Manhattan into the subway (native New Yorkers have fun identifying the path they take) and losing him on the train. Doyle in his own way is as repulsive as the drug dealers he's up against; he's a racist, selfish, insensitive, uncaring about anybody but himself. But his single-minded mania serves him well in this chase; he'll bring down his prey one way or another. The classic scene in this movie is, of course, the car chase under the elevated subway that practically defined the term "car chase"; it's mind-boggling to try to imagine how Friedkin managed to shoot this sequence. The supporting actors in the movie are excellent; I especially liked Tony LoBianco as the middleman Sal Boca, Arlene Farber as his wife Angie, Benny Marino as his brother Lou (does the family that deals together stay together?), Patrick McDermott as the cool-as-ice chemist testing the purity of Charnier's stock and stamping it with his seal of approval; and above all, the sinister performance given by Marcel Bozzuffi as Pierre Nicoli, Charnier's hitman, who will shoot anyone in cold blood without batting an eyelash. The cinematography has a kind of grainy quality that enhances the gritty story being played out. Even though it seems a bit dated, "The French Connection" still stands out as one of the high points of American film.

the 4th time viewing got even better experience
simply fantastic! the 2nd dvd got lot of significant details about this great movie making. the quality of the dvds are so crispily sharp. very very good viewing experience. gene hackman admitted it set off his career and confessed the difficulties to bring himself into playing the popei role. by viewing his performance only proved that he's one of the greatest modern time actors. think back....almost all of his movies roles were great, no matter how lousy the movies themself was. gene hackman is a national treasure.

Groundbreaking
After two decades of watching squeaky clean LAPD Sergeant Joe Friday on "Dragnet", and decades of Chicago's favorite fed, Elliot Ness on "The Untouchables", and then the innocent buffoons of the NYPD on "Car 54 Where Are You?", it was little wonder that people of the t.v. era were shocked by this movie's unflinching look at New York's lawmen. THE FRENCH CONNECTION, if not for anything else, will be remembered as the film that ultimately de-romanticized the noble cop legend. Popeye Doyle (marvelouly portrayed by Gene Hackman) is the anti-cop. He is not a crooked cop by any means. However, he's bigoted, amoral, prone to violence, self-possessed, and oblivious to the rules of police conduct. Norman Mailer once said of bad cops that they are sworn to uphold the law but feel they are above it; that they are supposed to keep the peace, but are inherently violent. That's Popeye Doyle.

The plotline of the film is fairly simple: the police receive information about a major drug operation about to go down, and they try to prevent it and arrest everyone involved. But Director Friedkin infuses the film with the complexities and dreariness inherent in pursuing such a case. I developed an appreciation of the hours of stake-out drudgery that the police go through. And then, of course, there's the danger every policeman confronts.

There's something for everyone in this film, including the greatest car chase in movies (even if the car is chasing an elevated train). Note: the elevated tracks that Gene Hackman drives under are the same tracks that appeared in the opening credits of "Welcome Back, Kotter" and, more importantly, they are the same tracks that John Travolta saunters under in the open scene of "Saturday Night Fever". If you're interested, those are the elevated tracks of the West End line (now the "D" train) on 86th Street in Bensonhurst, Brooklyn.

Good but not great
This movie was good, but it wasn't THAT good.
The ending itself is a HUGE left-off-hanging disappointment.
It doesn't really stand out from a lot of other cop movies that received far less attention. ... Read more

Reviews (26)

Mystery and suspense at its best
Some fantasies go too far. Money, sex and power are the things that most corrupt Los Angeles citizens in the modern world and in the classy thriller "Jade", penned by "Basic Instinct" screenwriter Joe Eszterhas and directed by "The Exorcist" director William Friedkin. This is a film I will definitely run out and buy on DVD now that I just got a DVD player. The film, despite many peoples' horrible opinions, is mystery and suspense at its best, delievring powerful dialogue, a chilling and provocative musical score, and unique directing and editing. Not to mention the terrific car chase scene that took the cast and crew three weeks to shoot in the cooperative Chinatown in California. Car chase scenes have become a trifle trite, however it remains tastefully done and riveting in this also riveting film. "Jade" shows that there is a dark side to people of high and low levels of power, and that they will commit heinous and destructive acts to remain in the chair of power, and as clinical psychologist Katrina Gavin (the wonderful and talented Linda Fiorentino) says, "The people who commit these acts are in many ways no different from you and me. But they are no longer able to control their urges. They disassociate themselves from their own actions, often experiencing an hysterical blindness. They are blind to the darkness within themselves."

The car chase alone is worth the price of admission
Jade is an average film. I enjoyed it, but I can see where some didn't. Its a little seedy, and aside from that angle it might have a been there, done that type of plot. The performances are all good. However, the real gem of the film is the fantastic car chase through San Francisco. Hill jumping, collisions and suspense as one character chases an anonymous killer.

It's in the top 5 chases with the all time greats of Bullitt, To Live and Die in LA, French Connection and Ronin. Very tense and realistic scene. Not to be missed!

Seductive.... Jade....Cheating.... Murder...Excellent Movie
Suspensful,Seductive,Excellent Movie!! Another great role for Chazz Palmenteri. No matter what movie he's in or what role hes given he always takes charge! I Love HIM!! The movie is based on a murder in the begining and David Curoso is the investigator and he has to figure out who killed "him". His best friend is married to his ex girl who you can tell is still in love with. Im sorry that wife of Matt Gavins (Chazz Palmenteri) is a hoe! David has to find out who "Jade" is because that will link to the murderer. The Ending is so unexpected and Suprising! I recommend this movie to everyone! Its Great~ but i must say Chazz Palmenteri shows his characters more as a gangster like in "Bronx Tale" You Should Be more in those movies Chazz, your the big boss man who takes over every movie i've seen him in! You go Boy!~

Seductive "Jade"
A corporate man is found murdered and a D.A. (David Caruso) investigates the gruesome crime. He thinks it's his ex-girlfriend, psychologist (Linda Fiorentino) who did it. Ok, there goes the rest of the movie. Better storylines develop on "As the World Turns." All this movie needed was 'small people' with magical powers. But "Jade" isn't a typical movie that deals with 'the dark side.' I mean this woman was icy cold (who I might add is gorgeous)! She made Darth Vader look like an amateur. A huge car chase in Chinatown highlights the movie and the direction by William Friedkin is fine. Ok movie.

Jade is an seducing film by Linda Fiorentino
Basic Instinct screenwriter Joe Esterhas' wicked knowledge of the trangsgressions of the rich and the powerful are deftly exposed by director William Friedkin and Linda Fiorentino. She is perfectly cast as the psychologist and as the illicit liason Jade. Chazz Palminteri, her husband, and David Caruso, a tad young for the role, makes for an interesting storyline. The graphic sexuality exhibited is for adults only but the movie delivers the seedy underbelly of politics and power and illustrates how a woman scorned can enter into a circle from which she has no escape. Unlike the Last Seduction, Fiorentino is the victim and not the temptress yearning for the love she doesn't have. Unfortunately, her husband isn't it either. With Loreena McKennitt's soulful sounds and Linda's great performance, she eventually gets under your skin as a woman looking for love in all the wrong places. Maybe that was the moral rather than Joe Esterhas's preoccupation with all the women he couldn't have in high school (as one critic wrote). Deftly directed, superbly acted, and well-executed. Jade is worth a watch only because of Linda Fiorentino's emotional resonance and convincing performance. Chazz is as excellent as ever. -Felecia Constance Rowe ... Read more

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Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial bestseller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism. Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by Satanic disfiguration. One of the most frightening films ever made, The Exorcist was mysteriously plagued by trouble during production, and the years since have not diminished its capacity to disturb even the most stoic viewers. The film is presented in letterbox format on digital video disc, with a remastered soundtrack that's guaranteed to curdle your blood. The 25th-anniversary Special Edition DVD of The Exorcist is packed with bonus features, including a 74-minute documentary titled The Fear of God: The Making of The Exorcist, which includes interviews with cast and crew, audio commentary by William Friedkin and author William Peter Blatty, a special introduction by Friedkin, theatrical trailers and TV spots, and DVD-exclusive coverage of the film's storyboards and production design. --Jeff Shannon ... Read more

Reviews (640)

4.5 out of 5
Thirty years after it's release, THE EXORCIST remains the scariest film of all-time. Adapted by William Peter Blatty from his own novel, this legendary horror flick follows the difficulties of a mother (Ellen Burstyn) whose 12-year-old girl (Linda Blair, in her biggest performance) becomes possessed by the devil, and how the mother discovers that the only way to save her daughter is an exorcism. There is frightening directing by William Friedkin (THE FRENCH CONNECTION), a very short by haunting score by Jack Nitzsche, and great performances by Burstyn, Blair, Jason Miller, Lee J. Cobb and Max von Sydow. To add to that, there's horrifyingly realistic special effects (by Marcel Vercoutere) and eerie cinematography (by Owen Roizman). Now we also have "The Version You've Never Seen" - which, hopefully you have seen, because it includes ten minutes of new, terrifying footage. Once you've seen, the film's hundreds of ghastly images will never leave your mind. Simply put, THE EXORCIST will live on to horrify us for generations to come.

The best horror movie ever made!
The Exorcist is one of those rare finds. It is a superbly crafted film with a great story and top-notch acting and it also manages to scare the "you know what" right out of you. The thought of the demonic posession of a pre-teen girl is too much for most people to ponder rationally. Yet somehow, William Friedkin (making the movie from the gripping page-turner written by William Peter Blatty) presents this tale in a straight forward manner that doesn't flinch in it's ability to deal with this horrifying subject matter. Contrary to what some people have mentioned the special effects are NOT dated. They are still some of the best effects created in Hollywood. (Perhaps minimalist by todays standards which make them even more incredible).
Highlights of the DVD are the soundtrack, which you'll be scrambling to turn down if you have a home theater system, and the documentary about the making of the film which highlights the many challenges the crew encountered and some of the eerie things that took place during the filming. Look for the infamous "Spider Walk" scene which was left cut on the editor's floor.
Some people I know still refuse to watch this film on its reputation alone. Don't be one of them. You'll be missing one of the best films made in the 70's and without a doubt the greatest horror movie of all time.

The Best and Original
This is probably the best horror film to date, still an excellent movies even though the effects are dated. It destroyed (Linda Blair's) the little girl's career as an actress because people were never able to disassociate her with the possesed girl. She was only 15 when she made the movie.

Still packs a punch
It is easy to banter around a movie as being the scariest ever made. Buy this movie actually lives up to the billing and should give shivers up one's spine unless one is already dead. The soundtrack is outstanding in setting the mood of the scenes. I saw the original movie when it first came out (amidst the tremendous controversy) and found it gripping. Of the added scenes, I will agree that the change to the ending was unnecessary. In the years since it was made, it has lost none of it's punch and is a very powerful and well crafted movie. My first DVD had to be replaced (it contained blank portions while the sound continued)and the replacement sometimes did not want to load. But once the movie started, it is one of the best to put one on edge. Sometimes, the medical scenes were more chilling than the possession scenes.
The cardboard DVD case, however, merits a thumbs down from me.

Misplaced images on the walls.
A great artistic masterpiece, with acting and scenery so sincere and genuine it all feels documentary.

The only good about the "Version You've Never Seen" is the added spider-walk scene which is very creepy; although it may be so strong that it attracts too much attention to itself, causing some unbalance in the film.
The added images on the walls I can't understand why they did. Demon manifestations don't live a life by themselves, they are primarily inner states of a person that are then projected and manifested without for the person. (I have had my own experience of this through a harrowing experience, when a cat which I was unable to help died a painful death before me; afterwards a demon visage appeared in the light from a candle, that was shining and reflecting through a glass, forming a picture onto the table before me. Looking into its eyes and raging mouth I stared right into the Abyss. It was no imagined thing, since I consciously noticed that it had the correct anatomy of an actual head.)
Furthermore these images on the walls, which are really only for the audience's eyes alone and not relating to the actors in the movie, make me think of the interactive computor-games of our modern age, where the viewer is part of the events on the screen. Such added new visual cosmetics really doesn't belong in a 1970s movie.

I recommend the 25th Anniversary Edition, which is the original version. It is also better paced. Another added scene in "The Version You've Never Seen" is of Regan's first visit to the hospital for tests; it comes too abruptly, and Regan being in her mother's bed, telling her that she couldn't sleep because her own bed was shaking, doesn't really seem to warrant it. ... Read more

Description

Directed by Academy Award winner William Friedkin, THE HUNTED follows FBI agent Abby Durrell (Nielson) and her new recruit, L.T. Bonham (Jones) - a specialist in deep-woods tracking, as they team up to track and hunt down trained assassin, Aaron Hallam (Del Toro), who made a sport out of fatally shooting deer hunters in the forests outside Portland, Oregon.Using his well-honed nature skills to locate Hallam, Bonham soon finds himself and his partner lured into a gut-wrenching game of cat and mouse. With ruthless precision and murderous skill, Hallam remains one step ahead of his pursuers as Bonham and Durrell try to outwit him in the natural and urban wildernesses before Hallem turns them into his next victims. ... Read more

Reviews (120)

The Hunted-Pointless and Confusing
The Hunted, an inert and bizarre thriller from director William Friedkin who use to direct and appreciate good movies. Tommy Lee Jones and Benecio Del Toro star in this incredibly senseless film, I only gave it three stars for the great action.
The film unfortunate to say is not very suspenseful, it's rather banal and unsurprising.
Basically, Jones, plays a commander of an elite special forces unit which use brutal tactics involving knifes and other such weapons. Toro is a lead student in his class and is commended for his great work. Soon during a secretive mission in Kosovo, he after completeing the missions successfully he loses his mind and essentially goes mad. He targets deer hunters whom he thinks are CIA agents trying to nail him. He's very surreptitious and cautious and so no one can catch me or so he thought. Soon the cat and mouse games becomes an intense deadly and fairly gruesome knife game which could be depicted from many horror films.
Toro is an expert when it comes to being a killing machine. Jones's primary objective is to catch him and of course execute him. An excellent knife fight is staged pretty much at the end of the film between Toro and Jones. All in all, the $6 used for the film ticket would've been better for charity. I mean that film wasn't atrocious, but it wasn't an amazing film. Personally
I think Tommy Lee Jones, is desperate for money, and so is Friedkin and Toro. This film should've immediately come to tape,
but it's a bit late for that. The only thing I can recommend about this film is the enthralling action, but one must have the stomach for the gory and graphic knife fights.
The Hunted is rated R for Strong Bloody Violence (which is indeed true) and Some Language. The violence is excessive but is considerable. I would recommennd only to fans of action and possibly fans who admire stupidity, cause that's all you'll get from this movie. See if you must, you should probably see it right away though.

A very well acted & directed action/adventure flick.
Aaron Hallam (Benicio Del Toro), has went off the deep end using his special forces killing techniques to fillet hunters who kill with "irreverence" as some sort of social statement. Now it's up to the man who taught him L.T. Bonham (Tommy Lee Jones), a professional tracker and good ol' boy to bring him in.

The Hunted is simply a fun, sometimes silly non-stop action extravaganza low on story, dialogue, character development, and overall plot and heavy as a sumo wrestler on visceral, fast paced, beautifully choreographed and even more beautifully photographed action sequences.

Staring in Kosovo, in what can only be described as a vision of hell on Earth, we meet Hallam a special forces op/assassin who witness brutal mass murder at the hands of some tyrannical military force. After his mission is carried out Hallam returns to the world and is given the silver star. He then disappears into the woods and begins to carry out his crusade for animal rights, or so we're supposed to believe even though the details are hazy. There's also a moment where Hallam says he was set up, but that's quickly forgotten along with his animal rights stance and we're left to believe that the guy just snapped. Tommy Lee Jones is brought in as is the case in all these movies where only a retired agent/cop/tough guy can bring down this new threat, a threat he helped create. After a brief, very brief, ploy by a shady government official Bonham jumps aboard to help bring in "his boy." From there we're treated to chase after chase, hand to hand combat after knife fight and it's all breathtakingly captured by William Friedkin of The Exorcist fame. A man whose made a name for himself by filming amazing car chase sequences. So who better to call the shots on The Hunted, which is really one amazing chase sequence after another, than Billy himself who pulls everything off...amazingly!

You have to give the guy credit for not going the route seemingly all other action movies go these days when it comes to filming high octane action sequences. I'm talking about endless slow-mo's and irritating Matrix-style visuals. Here Friedkin keeps the action going at a fast pace. The many hand to hand combat sequences between Hallam and Bonham are done with so much realism you I almost found myself grunting and grimacing along with the actors. Bravo. As far as the story is concerned it's all pretty much window dressing, thin window dressing at that. Void of dialogue with all other characters (excluding Jones and Del Toro) there just for show. Although Jones and Del Toro, who are great actors, spend most of the movie running and fighting it still took much skill to play these rolls only relying on physical prowess and the ability to show emotion without speaking. Bravo again. There's an out of place theology lesson at the beginning of the film that's just silly. The story of Abraham and Isaac is employed simply for pretentious purposes I'm sure and carry little weight in the film itself. Hallam looked up to Bonham as a father and at one point Bonham refers to Hallam as "my boy." And of course Bonham is brought in by the government to essentially kill Hallam, but that's as far as the Bible lesson goes.

The Hunted has it's fair share of goof. I found myself laughing out loud quite a few times at how silly some things came off as being. Hallam's initial motive for killing hunters was simply ridiculous. Also I have to say that Tommy Lee Jones seems a bit old to be engaging in hand to hand combat with anyone. The final showdown is simply a one sided fight to what was ultimately a predictable finale that for a moment had me believing things were going to shift. Alas they didn't and the end seemed like a cop-out quickie to a vaguely symbolic finale.  

After watching The Hunted I came away smiling, superbly entertained, and recounting the numerous goofy moments. I also praised Benicio Del Toro for his great, creepy performance, the break neck action sequences and director Friedkin. But now in retrospect I find much sadness in the story and the characters. It's really about two people neither one good nor evil, but walking that thin red line between the two. The Hunted isn't a great film, but one that resonates in my mind causing a number of emotions. If you're an action buff, The Hunted will surely suffice if you're in the mood for a quick action fix. However, and it sounds weird saying (or rather typing) this, but I think there's much to be discussed about the characters, Hallam in particular. I've found much to empathize with both men and ultimately feel sorrow for them. Check it out!   

This movie is nothing like The Fugitive
And that is nothing like sarcasm. Okay, it is. It's a lot like sarcasm, actually. Maybe if it weren't Tommy Lee Jones as the star it wouldn't be so obvious, but to me what it came down to was a tough, know-it-all smart guy chasing a resourceful criminal that apparently no one else can catch.

The Hunted seemed to have promise in the previews. Jones of course is usually good in everything (others might say this is because he typically plays the same character). And since starring in The Usual Suspects, Benicio Del Toro can really do no wrong. But The Hunted is a strange film, awkwardly left of center, as though it was aware of it's own triteness so it tries to overcompensate for it in random areas - violence, gore, and casting for example. Watching the movie I couldn't help but feel it was far beneath Del Toro's ability. He is certainly more gifted than to play the run-of-the-mill action star that he is in The Hunted.

The Hunted is a typical disciple-gone-wrong movie. Del Toro, a deeply covert special forces soldier who "doesn't really exist" is so battle scarred that he goes AWOL and kills some innocent people. Once the government realizes this, they send the man who trained him - Jones - to track him down and catch him. From here it unfolds in an extraordinarily predictable way. The audience is left to feel as though they are watching out of obligation rather than actual interest - 9/10 viewers could probably outline the rest of the story. To try to hold our interest then, the filmmakers include a deep amount of gore in the movie, much more than a typical action film would have. Whether it's photos of decapitations or showing us orphaned children stepping though bodies in Somalia trying to find their parents, The Hunted delivers some disturbing scenes

The problem is that the film doesn't really earn the right to do this. What I mean is, if I'm going to look at sickening images then it really needs to be a good movie otherwise. I'm not going to look at it for the sake of looking at it, and unfortunately that's all The Hunted has to offer.

I advise avoiding this film despite the promising cast. You'll just be waiting for plot twists that never come and hoping Benicio gets back on track in his next role choice.

On The Run in the Pacific Northwest
Somewhat reminiscent of the D.C. sniper slayings, this film concerns a battle-fatigued Special Forces veteran of Kosovo, who has seen far too much violence,and becomes an animal lover and wreaks his vengeance by tracking & killing two hunters in the conifer forests of the Pacific Northwest. He is tracked down reluctantly by his former teacher,and by other members of the FBI, again reminiscent of the D.C. snipers, with this critical difference: he has been taught to kill in hand- to- hand combat with primitive weapons he makes himself, not modern high-powered rifles. The film is not for the faint-hearted, and starts with 15 minutes of fiery Hollywood battle footage from the Kosovo War, and its ethnic cleansing. The first half of the remainder might be considered slow by some viewers, but the pace picks up considerably in the second half, as the chase begins in earnest, beginning with the military detention vehicle's accident. The subsequent chase scenes through the streets, construction sites,underground tunnels and whitewater rapids surrounding Portland, Oregon are some of the most exciting you will ever see on film, raising this film briefly to a 5-star level.
They culminate is a gruelling hand-to-hand combat between teacher and pupil above some whitewater rapids as the FBI looks on. Second film I have seen in which Del Toro plays a desperate killer on the run, the other being "21 Grams". He seems to be developing into a Sylvester Stallone-type actor. The film has some other notable touches: the music of Johnny Cash, and how Tommy Lee Jones saves a white dog or wolf from a snare in the film's opening scene and later sees the same dog at the end of the film.

Great action film
Eerily reminiscent of the D.C. sniper slayings, this film concerns a battle-fatigued Special Forces veteran of Kosovo, who has seen far too much violence,who becomes an animal lover and wreaks vengeance on two hunters in the forests of the Northwest. He is tracked down by his former teacher,and by other members of the FBI, again reminiscent of the D.C. sniper. The film is not for the faint-hearted and starts with 15 minutes of Hollywood battle footage from the Kosovo War. The first half of the remainder might be considered slow by some viewers, but the pace picks up considerably in the second half as the chase begins in earnest, beginning with the military detention vehicle's accident. The subsequent chase scenes through the streets, construction sites, and whitewater rapids surrounding Portland, Oregon are some of the most exciting you will ever see anywhere, raising this film to a 5-star level.
They culminate is a gruelling hand-to-hand combat between teacher and pupil above some whitewater rapids as the FBI looks on. Second film I have seen in which Del Toro plays a desperate loser on the run, the other being "21 Grams". ... Read more

Amazon.com essential video

William Friedkin's classic policier was propelled to box-office glory, and a fistful of Oscars, in 1972 by its pedal-to-the-metal filmmaking and fashionably cynical attitude toward law enforcement. Gene Hackman's Popeye Doyle, a brutally pushy New York City narcotics detective, is a dauntless crime fighter and Vietnam-era "pig," a reckless vulgarian whose antics get innocent people killed. Loosely based upon an actual investigation that led to what was then the biggest heroin seizure in U.S. history, the picture traces the efforts of Doyle and his partner (Roy Scheider) to close the pipeline pumping Middle Eastern smack into the States through the French port of Marseilles. (The actual French Connection cops, Eddie Egan and Sonny Grosso, make cameo appearances.) It was widely recognized at the time that Friedkin had lifted a lot of his high-strung technique from the Costa-Gavras thrillers The Sleeping Car Murders and Z--he even imported one of Costa-Gavras's favorite thugs, Marcel Bozzuffi, to play the Euro-trash hit man plugged by Doyle in an elevated train station. There was an impressive official sequel in 1975, French Connection II, directed by John Frankenheimer, which took Popeye to the south of France and got him hooked on horse. A couple of semi-official spinoffs followed, The Seven-Ups, which elevated Scheider to the leading role, and Badge 373, with Robert Duvall stepping in as the pugnacious flatfoot. --David Chute ... Read more

Reviews (82)

Slow and very dated
Don't be a sheep and listen to all the reviews about how great this movie is, because it isn't. The movie is very slow, the action is not as well filmed as newer films, and although on paper the plot sounds fairly intriguing (a true story of two cops who made the largest heroin bust in US history) the movie falls pretty flat.

Just for a little context on myself, I was born in 1980, so yes I am a relatively younger viewer. However, I am not a big fan of today's special effects oriented, plot light action films. In fact, in my opinion, the seventies were the golden age of filmaking.

Special effects then were advanced enough to make action seem realistic, (but hadn't gotten so good that directors got carried away with them) acting had reached its pinnacle after having the method actors firmly entrenched in Hollywood by this time, and plots were still strong (some would argue weakening in the seventies, in my view they were stronger than the classics, but I can somewhat understand that view).

But what we have with the French Connection is basically a film which is caught between two eras, and succeeds in neither one. The action is closer to classic cinemotography than modern. The acting is fairly good, but with little plot to carry it (unless a two hour limping plot to catch the bad guys is a good plot to you.)

The car chase seen is about as overated as overated can be stated without being a cliche. Here I was bored for an hour and a half, waiting for this car chase, and it really wasn't filmed that well or was that exciting, hardly the best car chase seen in any movie.

If you have nothing but time on your hands and want to see this because everyone else says you should, go ahead. But if you value your time and want to see a film that is both a classic and entertaing, I would suggest the Seven Ups with Roy Scheider. This may be actually be the best car chase in any movie, and although modern movies can film a bit better, I would argue it gives any modern film a run for its money in that department. Also, the film isn't dated, and the plot doesn't put you to sleep. Another suggestion would be Serpico, although also slightly dated to the younger viewers, it still manages to keep its edge, and even during its length and slowtimes, you remain engaged.

Why this film is so popular is beyond me. I think it is a combination of Gene Hackman's acting and a cool sounding name for a film, and then everyone jumping on the bandwagon about this being a classic.

Go ahead and ignore my review and buy it anyway, but anyone who likes a decent paced film with an engaging plot will wish they listened.

Classic Film Noir.
I just saw this one the other day for the second time and was amazed at how riveting it still is.It's also one of the only times that I can think of where a car chase scene rises to the level of art.There is practically nothing in this movie that is black and white.Even after all these years of cultural and social decline, Hackman's final words to Roy Scheider still manage to disturb.I was further surprised at how pertinent the themes are and at the unpredictability of the plot turns.The acting is first rate with the French actors being well chosen.

Film is great, DVD could be a little better
The acting, scenery, and gritty realism of TFC make it brilliant. But sadly the DVD (despite two discs) sports no bloopers or outtakes of the movie. Also, why couldn't Hackman and Scheider have a complete and seperate commentary each, instead of the half commentary each their given?

One of the best ever
Let's just get the plot synopsis out of the way: Popeye Doyle and Cloudy Russo are to NYPD detectives who make the largest heroin bust of their time.As the title implies, heroin is being smuggled in by a prominent Frenchman and sold through middlemen in Manhattan.Doyle and Russo do an amazing job of tracking down the bad guys, but unfortunately, the bad guys still claim somewhat of a victory in the end. The movie's based on a true story, but of course, many liberties are taken. Alright, that's that.

This is simply one of the greatest movies I have ever seen. Gene Hackman never topped himself with his Oscar-winning performance as Popeye Doyle.He's able to channel the obsessiveness, harshness, and faux racism of the actual person he's based on so genuinely that you wouldn't doubt that he's an actual hardened detective. Roy Scheider does an outstanding job as Popeye's sidekick Cloudy. He plays Cloudy a bit more mellow than Popeye, but you can tell that he's just as good a cop as his partner. The cast also includes Fernando Rey who turns in a great performance as the French villain.

Of course, the acting is superb, but the cinematography and the action are equally great.Since Friedkin wanted the movie shot in a documentary style, the on-screen action takes on a very realistic appearance.This enhances our appreciation of the New York that is seldom portrayed - the non-5th-avenue, real, heroin-infested backstreets of the 60's.And, yes of course, one of the greatest chases in the history of movies - Popeye in a car chasing the French hitman who's on a train.There's no CGI here.And as you'll learn from the commentaries, the crashes you see are real since the filmmakers didn't bother to obtain permits to shoot on the streets and instead just stole the shots.

That brings me to the DVD extras. The commentary by director Friedkin is excellent.It really gave me a new appreciation for this movie. Friedkin talks at length about the 2 detectives the main characters are based on, the difficulties in making the movie, and probably most interesting to a film fanatic, the correlations between the movie and the actual case itself.The commentaries by Hackman and Scheider are also great, but unfortunately, each only speak for about 20-30 minutes. The DVD also has an insightful documentary produced by the BBC about the movie and the actual case.

I'm sorry I'm talking so long, but there's still more to say. There are seven 7 deleted scenes and accompanying commentaries on the DVD. After viewing these, I realized just how revolutionary the ideas behind this movie actually were. The final cut of the movie was controversial enough in its portrayals of drug use, police behavior, and Popeye's racist attitudes, but one look at the deleted scenes will convince you that Friedkin would have pushed the envelope farther if only audiences were ready for it. The most striking of the scenes depicts the French hitman enjoying sadomasochistic activities with a prostitute. That may be par for the course for today's movies, but just imagine what it would have been like back then.

I've rambled enough, but it's only because I love this movie and this DVD. Make sure you pick it up next time you go to Blockbuster or wherever.

You'll be Picking Your Feet in Poughkeepsie
What can be said about this landmark picture?It's got everything.You've got Gene Hackman commanding the screen as Popeye Doyle in every scene he's in whether he's busting a drug bar, chasing a sniper while driving manicly under the El tracks, or pursuing his elusive prey, Charnier, better known as "Frog One".Roy Scheider gives a great supporting performance as Cloudy, Popeye's cooler headed partner as does Fernando Rey as the wily Charnier.Kudos also go to William Friedkin for his sure-handed direction.He orchestrates every aspect of this film perfectly from the establishing scenes in Marseilles, to the buyers in New York, to the police investigation of the connection.Though we have been inundated in recent years with police dramas both cinematic and on television, this is the mother of them all.Thirty plus years on this film holds up as well as it did on it's initial release. ... Read more

Amazon.com

Following the blockbuster success of The Exorcist, director William Friedkin had the clout to make any film he wanted, and he nearly ruined his career making Sorcerer, an ill-fated remake of the classic French thriller The Wages of Fear. Given the big-budget treatment that Friedkin could command, the original plot remains unchanged: In an unnamed Latin American country, Roy Scheider leads a group of four fugitives who will earn their freedom if they can successfully transport truckloads of volatile nitroglycerine over treacherous terrain to extinguish a raging oil fire. The unstable explosives could prove deadly at any point of the journey, and numerous obstacles threaten the completion of the mission. Produced under rugged conditions in the jungles of the Dominican Republic, the film is visually impressive and contains intense moments of astonishing suspense, but the specter of the superior French version hangs over every scene. This version remains a folly of directorial ambition run amuck, but for the very same reason Sorcerer is a film that's hauntingly unforgettable, fueled by an atmosphere of dread and the forceful powers of nature. Presented in full-screen format on DVD, the film is aided immeasurably by Tangerine Dream's eerie electronic score. --Jeff Shannon ... Read more

Reviews (62)

The most underrated suspence thriller!!!!
Not only was the film deep, and insightfull to the inner soul of a human being in the situation of, in a desperate attempt to be free of the self made prison of these four criminals. To drive accross trecherous terrain of primevel forests of South America in trucks loaded with dynamite so unstable with the nitro leaking from the sticks of death. one wrong move and BOOM! The music was absolutely incredible. Tangerine Dream did a soundtrack that scared the **** out of me!! Don't forget, all this was brought to us in 1977! I was very young and left an impression in my brain! This movie is the prime spark for me getting into Digital Synth Music. All actors were intense and suffered much for the shooting of this film! A MUST GET for armrest gripping viewing!

An overlooked gem
Forget "Wages of Fear" for a moment and look at the merits of the DVD release of William Friedkin's "Sorcerer."

I would have overlooked this film had Siskold and Ebert not flagged it as an under-rated film and under-rated it is. I caught it on HBO and later purchased the Laserdisc.

But the DVD is a step up from there. The color is excellent and the DVD sound is spectacular with the score by Tangerine Dream. Vivid is the word.

Friedkin, who cut his teeth in commercial television, doggedly sticks to his 1:1.33 aspect ratio for this release, but one sees his way of looking at the scenes in this way.

And, oh the cargo! Cases of sensitive dynamite leaking nitroglycerine carried in two trucks driving 15 minutes apart over "pre-Columbian" roads for 200 miles through a South American jungle past, over, or through every danger one can imagine. Dynamite truckers are sometimes called "suicide jockies" even on regular roads. This is downright kamakazi.

Once the journey starts and Tangerine Dream plays the score, it becomes a white knuckle journey not only for the drivers, but for the audience as well. Not good men (after all their are on the lam) but I wound up caring for all of them -- and that says something for the way Friedkin draws the viewer in.

Perhaps the "superior characterization" of the earlier film appeals to those who like the personal stories and certainly there is a place for that, but for the raw imagery of the journey, "Wages" does not touch Sorcerer. If anything, both films should be seen and enjoyed, each for their different focus.

I especially liked the opened ended ending of Sorcerer -- open to debate -- does the theme music mean the end, or yet another spin of the wheel?

Is this a never-ending story? Is it the story of "everyman?"

THERE IS NO WIDESCREEN DEBATE ON THIS FILM.
THIS IS NOT THE INTENDED VERSION!!The Spotlite review by ZENCIRCUS is WRONG!! Yes, William Friedkin was a television director. And yes, he has been quoted as saying he hates widescreen formatting. But this version HAS BEEN MODIFIED to fit a standard TV screen at 1.33:1. When you play this DVD version; IT STATES THIS at the beginning of the film. This underrated masterpiece was SHOT in a ratio aspect of 1.66:1. What that means for those of you who don't understand: if your screen was 1 foot high it would be 1.66 feet wide. This version is only 1.33 feet wide as it is 1 foot high. So, this version is NOT as wide as it was originally shot. Some of the image on the sides HAS been lost. Although, when you look at the ratio, not much is being lost. But to a real film purist, THERE IS A DIFFERENCE.

YOUR WRONG ZENCIRCUS!! Another version of this classic DOES EXIST. Get your facts straight. And don't hold strong opinions about things you don't understand. Anyone who really loves film, should go to GOOGLE, type in "UNDERSTANDING ASPECT RATIOS," and learn about it. I did. Apparently ZENCIRCUS didn't do his homework. Unless William Friedkin chimes in here to correct me, his review is WRONG and should be removed from the Spotlite.

Don't Overlook This One
Everything that has been previously written about SORCERER touches on all the points I myself would make, save one: I was fortunate enough to see this in 1977 when it was first released in theatres. I was interested in Friedkin's work, and anxious to see what this new movie was. It was a Saturday evening show, but the theatre was populated by myself, a friend, and maybe a dozen other people, several of whom walked out. They should have stayed--they missed a truly great film! We were riveted to our seats for the full two hours, gripping the seat arms and each other, praying that at least one man would make it out of this Hell alive. And a few months later, when our local revival house played a double bill of SORCERER and THE WAGES OF FEAR, you bet we were there to compare and contrast and enjoy! Two very fine films which deserve more wide attention. Most people didn't know what kind of a movie SORCERER was: the poster showed a still from the unbelievably treacherous river crossing over that now-iconic rope and wood bridge, with the words "A William Friedkin Film" and "SORCERER" prominent. If they hadn't seen a trailer beforehand, many thought they were going to see a fantasy film. The film ran only a few weeks, and did poorly at the boxoffice. (I've always felt that every film released during the summer 0f 1977 -- except two -- suffered greatly because of the monstrous success of STAR WARS; that film eclipsed everything else except SMOKEY AND THE BANDIT and the latest James Bond film, THE SPY WHO LOVED ME. Go figure.) Universal hasn't booked it a lot on cable over the years, so it has remained a bit of an enigma, except to the privileged few who have been able to see it. I can't recommend this film any higher. Please see it: as long as you have an open mind and do not fall victim to preconceptions, it will enthrall you. And see the original Clouzot film as well: they each have their great strengths.
One bone of contention: the score by Tangerine Dream is perfect! An orchestral score was not neccessary. Friedkin has made it known that after discovering the Dream when finishing off THE EXORCIST, he wanted to have them score an entire feature for him. This is a genuine marriage of film and score, each complimenting and enhancing the other.
One last thing: While true that SORCERER wasn't a widescreen (2:35 to 1) release, I believe that it was 1:85 to 1, so maybe Universal will see fit to repackage the DVD with the original artwork in this ratio. It would be cool.

Alternately painful and enthralling
Sorcerer showed up in the mail via NetFlix and for the life of me I couldn't remember why I ordered it. One theory is that I thought it was a fantasy flick. The title has little to do with the movie itself and it's certainly not about fantasy sorcerers casting spells. Another possibility, and more likely, is that I was writing a review of Vertical Limit and someone mentioned that Sorcerer did it first.

It doesn't matter, I watched the movie anyway. And what I saw was alternately painful and enthralling.

Sorcerer is about four men down on their luck. Actually, that's an understatement. They're not just down on their luck; they're at the very rock bottom of their lives. They are each one step away from complete oblivion, be it at an assassin's hand or their own.

The movie starts out with little apology tracking these four independent threads. The first half hour of the film makes no sense because we don't know what we're seeing: one Frenchman businessman is ruined and flees the country; a New York wheelman crosses the wrong gang; a Middle Eastern terrorist bombs a dwelling; one is an assassin. They are all on the run from their respective countries.

They all end up in Vera Cruz, in South America, a stinking fissure in the earth. Naked children and dogs wander the streets. Everything is encrusted in dirt and the slime of sweat, rain, mud, and oil. The only place a man can find work is at the oil company upon which Vera Cruz depends for its survival.

An explosion sabotages the well. The oil burns and will burn forever unless it is covered - and that requires explosives. Of course, in the South American jungles the nearest cache of nitroglycerine has been festering for years and become highly unstable. It can't be lifted by helicopter, so trucks must carry it. One strong bump and the nitroglycerine explodes.

Finally, the movie gets interesting. We have four unlikable characters forced to work together. They must battle the elements, bandits, and human stupidity to ensure their cargo and their lives make it to the oil well intact.

If you recall Vertical Limit, the concepts were the same: different groups armed with nitroglycerine must brave nature and the elements for some noble cause. While not as gut wrenching as Vertical Limit, Sorcerer manages to inject pathos into the characters. They weep, they take desperate measures, and they become more noble as they rise to each crushing challenge.

Ultimately, all of them came to Vera Cruz to flee something else. Now that they have come to Hell, like Orpheus and Dante they must descend to its bowels to escape it. The journey with the nitroglycerine is their purgatory.

It's no surprise that few of the characters survive, but the movie goes one step further. The sole survivor finds solace in the dirt and horror of the town itself. In short, his journey to get enough money to escape was about selfish ends until he realizes that his struggles had purpose - he saved the town's fate, at least for a little while. His own life is precious. And so, he uses his last moments before leaving to dance with a haggard woman rather than make his escape. His redemption will not be satisfied with anything but his death.

And the name of the movie? Sorcerer is the name of the truck. ... Read more

Reviews (120)

The Hunted-Pointless and Confusing
The Hunted, an inert and bizarre thriller from director William Friedkin who use to direct and appreciate good movies. Tommy Lee Jones and Benecio Del Toro star in this incredibly senseless film, I only gave it three stars for the great action.
The film unfortunate to say is not very suspenseful, it's rather banal and unsurprising.
Basically, Jones, plays a commander of an elite special forces unit which use brutal tactics involving knifes and other such weapons. Toro is a lead student in his class and is commended for his great work. Soon during a secretive mission in Kosovo, he after completeing the missions successfully he loses his mind and essentially goes mad. He targets deer hunters whom he thinks are CIA agents trying to nail him. He's very surreptitious and cautious and so no one can catch me or so he thought. Soon the cat and mouse games becomes an intense deadly and fairly gruesome knife game which could be depicted from many horror films.
Toro is an expert when it comes to being a killing machine. Jones's primary objective is to catch him and of course execute him. An excellent knife fight is staged pretty much at the end of the film between Toro and Jones. All in all, the $6 used for the film ticket would've been better for charity. I mean that film wasn't atrocious, but it wasn't an amazing film. Personally
I think Tommy Lee Jones, is desperate for money, and so is Friedkin and Toro. This film should've immediately come to tape,
but it's a bit late for that. The only thing I can recommend about this film is the enthralling action, but one must have the stomach for the gory and graphic knife fights.
The Hunted is rated R for Strong Bloody Violence (which is indeed true) and Some Language. The violence is excessive but is considerable. I would recommennd only to fans of action and possibly fans who a