Description

From the great Muppet creator Jim Henson comes this classic bursting with enchantment and adventure. Academy Award winner Anjelica Huston stars as the Grand High Witch in this exhilarating tale.Year: 1990 ... Read more

Reviews (42)

Beware of Witches
Firstly it is true that this movie can be extremely frightening to young children, and should not be shown not be seen by them.
Otherwise everyone else should really enjoy this fantastic movie, that takes place in Sweden and modern day England.

A little boy Luke ((Jasen Fisher) is told by his grandmother (Mai Zetterling) all about witches, and of her own childhood experience with these evil creatures, including the mysterious loss of her best friend to their wicked wiles.

When a few months later he goes with his grandmother to a grand old hotel by the seaside in England, he discovers to his dismay that there is witches conference at the hotel, and before he can foil there evil plans to destroy the children of England, he and another boy, Bruno (Charles Potter) are turned into mice at the orders of the Grand High Witch (Angelica Huston)

He and Bruno must now survive while at the same time exposing defeating the witches' evil plans.

A great movie based on the book by Roald Dahl.

Delightful Kids Flick
I discovered thsi movie at the age of eight and became obsessed with it renting it several times then buying it for myself a few years later. Kids flicks don't get any better than this.

This movie is based on the book by Rolald Dahl which is about a boy who comes across a flock of witches while vacationing with his grandma on the English seashore. The witches *led by Angelica Huston* are meeting under the disguise of a "children's charity organization* but really are discussing plans to get rid of all of the children in England by turning them into mice! Unfortunately, the boy whose name is Luke becomes one of their first victims. The story is great fun as are the actors. The end is the best part which takes place at a fancy dinner for the witches, but I won't give it away. Fantastic movie for the young and the young at heart.

5 starz!!!
This movie is just an automatic classic.It is aliitle funny but most of all kind of creepy.The movie starts out kinda slow but then it starts to pick up it's pace, this movie is just a must have.

Campy, but cute, children's story
This is definately for kids, perhaps 8 to 12 years old, where they can separate out fantasy from reality. The slow starting pace and the campy effects might bore adult viewers, but it's a great flick for kids. The cameo appearance of Rowan Atkinson adds a couple of laughs, but filmmaker really underutilized the comedian's talents.

THE WITCHES (ANJELICA HOUSTEN)
i used to watch this film when i was a lil kid and i used to well like it! it was funny cos ma cousin got scared of the grand high witch! and anjelica housten does look quite fit in this- even though she is a witch!!! anyways it is a brilliant film for lil kids and i would even watch it now!! GO 4 IT! 10/10... ... Read more

Amazon.com essential video

Nicolas Roeg's Don't Look Now once seemed radically new with its kaleidoscopic imagery, dreamlike editing, and willingness to let mystery be mysterious on several levels of reality/illusion--plus art-house darling Julie Christie in a long, nude love scene! Nowadays, this 1974 adaptation of a Daphne du Maurier ghost story looks almost classical. Following the drowning of their child in England, Laura (Christie) and John Baxter (Donald Sutherland) have come to dank, eternally dying Venice, where he is supervising the restoration of a moldering church and she is either slipping into or climbing out of madness with the help of a pair of creepy spinster sisters, one of whom can "see" even though blind. John may share this psychic power, though he resists accepting it as the canals fill with murder victims, surface realities turn shimmery as water, and a red-coated figure--the daughter's ghost?--keeps flickering in the corner of our vision. Though surreal and perplexing, the film does eventually add up, and the ending remains a real throat-grabber. --Richard T. Jameson ... Read more

Reviews (53)

Blind Venetian Channels............
The senseless and [accidental?] death of a child. Guilt?
Dim, underlit streets and waterways of Venice. Visions of a small child wearing a hooded red raincoat....... Steamy sex.....A serial killer........A blind psychic.....warnings....and a very sharp straight razor, or two.....and lover's do learn.....

A deliciously dark and brooding concept by auteur Nicholas Roeg ["Bad Timing"]of Daphne Du Maurier's vision of grieving parents Julie Christie and Donald Sutherland, recovering in Venice after the death of their only daughter. AND this movie has one of the best love-scenes ever recorded on film - excellent - not gratuitous or offensive.

VENICE, though, is the Star of this work. Forget any Summer Holiday memories you might still have of this wonderous dreamcity, she really comes to life during the winter! To say more about the plot would be to betray the work, but if you like experiences along the lines of "The Innocents", perhaps even the original "Haunting" - see this one. "Don't Look Now" is kind of the flip-side of Kate Hepburn's "Sunmmertime", even "Lover's Must Learn". It's an odd kaleidoscopic view of the city and its post midnight pulse - but be warned - stay in your hotel room - don't venture out on your own, especially after dark...........those Venetian walkways are still so dimly lit, never quite know what you might find in a doorway, or in the canals for that matter].

A companion-piece? The later "Comfort of Strangers" - equally disturbing, but a great double-bill!

A landmark in film editing!
Dont look now is a very important film because it changed the way films would be edited forever. There are several key sequences where the editing is beautifully mastered to create wonderful montages not seen since Tarkovsky - the initial child drowning accident, the love making scene shot in reverse and the shock ending. This is a wholly creative film from start to finish. The director has paid remarkable attention to the direction of colors. If you think that Spielberg was original with his girl in the red coat, then you are mistaken. This is where that vision began. The majority of the film takes place in Venice but the director has chosen to roam the more obscure and backward waterways and tunnels. The film is layered with such beautiful simplicity that is should be the goal of every film student to study this material to no end.

The premise basically revolves around a personal family tragedy of a young couple, John and Laura Baxters, played by Donald Sutherland and Julie Christie, (a magnificent match) who are trying to come to terms with the death of their daughter. Laura finds a blind clairvoyant and her sister by accident in a restaurant who claim that the dead daughter is trying to warn them of some great danger. Slowly Laura starts to crackup as John becomes increasingly angered by her belief in an supernatural afterlife and the warnings given by the medium. The ending manages to shock every time.

This film is not for everybody. The production values are minimal and most of the film was shot from the hip on a shoe-string budget. However the realism that this film conjures up is steaks and bounds ahead of most psychological horror films of its kind. The story is somewhat slow, but emotionally it packs a hell of punch. There are several background elements to the film including a bizarre series of multiple murders, missing persons and events back in England that seem almost connected to the couples genuinely heartfelt struggle to come to terms with bereavement. Essentially this film is every parents nightmare come true and the horror of the loss of a child is very strongly presented and does disturb.

This is a bleak, raw and alarming art house film with many moments that will cause the viewer some distress. The connection between the onlooker and the leading protagonists has an impact that will leave you reeling emotionally long after the film has ended.

A classic masterpiece of emotional and psychological horror.

Do Look At This Movie Now
This film certainly rises above the genre of horrow movies and remains a classic after 30 years. Based on a story by Daphne du Maurier, the movie is set for the most part in Venice, the most mysterious of cities that is so conducive to horror, suspense and intrigue. (DEATH IN VENICE, THE COMFORT OF STRANGERS and THE TALENTED MR. RIPLEY are just three other movies set in Venice that have some of the same eerie feel to them as this one does.)Two of the reasons for the success of this movie are Julie Christie and Donald Sutherland, two of my favorite actors. I didn't remember Sutherland having that much hair if it's his; also, I never thought Julie Christie resembled Michael York before. (Someone should play with a computer and juxtapose their portraits, one over the other. The likeness would be striking.)

Sutherland and Christie have just lost a daughter by drowning. While in Venice they meet spinster sisters, one who is blind, who tells the grieving Christie that she has "seen" her daughter. The plot gets scarier by the minute. There is a wonderful sense of forboding that builds into a horrific climax. The film is beautifully shot with images-- blood, water, Christie and the two sisters riding in a water taxi-- repeated.

The sex scene between Christie and Sutherland has to be one of the most erotic ever shot and remains so after 30 years. The director intersperses their sex romp with scenes of their getting dressed to leave their hotel, a great touch.

Certainly the movie is not as frightening the second time around since we know the outcome; that is certainly not a criticism, however.

DON'T LOOK NOW remains one of the best of the genre.

Spelling atmosphere
The gothic and sinister atmosphere you breathe since the first rapture images where the tragedy is announced , the painful fact will lead this marriage (with Venecia as beautiful background) to unthinkable consequences for both of them and will allow Roeg telling us a script filled with imagination , exceptional and skillful camera resources , based on a novel of Daphne du Maurier who inspired Hitchcock for The birds and Rebecca.
Sutherland and Christie established an inmediat *chemical rapport* , a script with several twist of fate and prodigious color employement to create nightmares.
This is a true gem : one of the most remarkable pictures of that decade.

Beware if nudgets ub red raubciats!
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This film will give you reason to be afraid of midgets in red raincoats for the rest of your life!

For reference to the above, I recommend the film "Unconditional Love", which revisits the "midget in a red raincoat" for yet another scary thrill! ... Read more

Reviews (68)

TERRIFIC SCI-FI...
I first saw this film when it was released in the mid nineteen seventies. I recalled how much I had enjoyed it, when I saw that it was available in DVD. The DVD itself is disappointing, as it offers virtually none of the features one has come to expect from a DVD.

This aside, the film itself, though somewhat abstract, is terrific, as it is not just a science fiction film with a twist. It is a film that explores themes that are timeless: desolation, alienation (no pun intended), and loneliness. At times, these themes are palpable, due to David Bowie's wondrously androgynous performance, which is heartbreakingly moving at times.

The plot is fairly simple. An alien, Davie Bowie, leaves his family on his dying and arid planet in search for water. He lands on earth and begins his project to send water to his devastated planet by amassing the wealth that he needs to do this. He patents numerous lucrative inventions which eventually find him at the head of a world wide conglomerate. He joins up with a kindly, though stupid and vapid woman who drinks gin like a fish, Candy Clark, with whom he begins a liaison of sorts. Yet, he is always lonely and melancholic, and like her, begins to spiral into an alcoholic haze, sometimes sidetracking him from his purpose here.

At some point, excruciatingly sad and lonely, longing for his family, he reveals himself to her for who he truly is, shedding his earthly appearance, only to be met with absolute horror and repugnance by her at the sight of him. She ultimately tries to understand him, but it is truly beyond her ken. He is infinitely sad at this and longs all the more for home.

On the threshold of returning to his planet and loved ones, he is kidnapped by corporate raiders who take over his holdings, and it is here that the movie begins to disintergrate somewhat. Yet, it remains strangely hypnotic and compelling, and becomes a sort of "Lost Weekend" of betrayal, booze, and promises that will never be kept. A parable of wanting to belong, yet knowing one never will. A story about wanting to go home, but knowing on some level that one can truly never go home again.

Restored science fiction art classic
It was an odd year. 1976 saw the release of Logan's Run with its occasionally heavy handed parable about the youth culture, Ralph Bakshi's Wizards gathered steam at the box office and included a trailer for some movie called Star Wars. Along came Nickolas Roeg with his arthouse science fiction epic and totally mystified everyone. David Bowie is perfect as the alien in this classic science fiction film. He's left his arid, dying planet and come to Earth in hopes that some of "his" inventions could create enough capital so that he can take resources from our planet to save his.

Unfortunately, Bowie's character pretends to be human all too well--he's sucked into the very flaws that cripple humanity. He becomes a victim of our culture rather than master of it. Roeg's film is fragmented and spooky (particularly the scene where Candy Clark discovers that Bowie's character has various attachments to make him seem human). The visually unsettling photography and editing help bring an edge to the film. Roeg manages to fuse science fiction to his European art sensibilities very well. In fact, Man is probably Roeg's most powerful film outside of Don't Look Now his gothic take on the horror film.

Anchor and Bay have restored the film to its original, uncut running time. They also have gone back to the original negative and camera elements to create as sharp a print as I've ever seen. The aspect ratio is finally correct and the sound, while not perfect, is a huge improvement over the previous DVD, video and television versions that have been floating around.

How to explain this movie...
This is one of those films that is best watched in the dark, by yourself, because sometimes, you just might want to shout out "WHAT?"

Basically this movie is a great cult classic about an alien who comes to our planet in search of water for his desert planet. David Bowie... how do you rate his performance with that of other conventional actors? You can't. He is brilliant in his role as Mr. Newton! I was completely mesmerized and even attracted to him as the thin redhead. I was surprised however that he was completely unclothed in one scene, but hey, it didn't hurt any part of the movie!

I would recomend this to anyone, period. I give the movie a 5, but Bowie's performance gets a 10!

Loving The Alien
I never went into thi film expecting anything that
conventional,considering David Bowie stars in it.But it is a
socially relevant science fiction movie about an alien who comes
to Earth in search of water to aid his draught-ridden planet and
in the process get's caught up in the corrupt politics of human
culture.In the end he basically forgets why he came to Earth to
start with after falling in love and becoming owner of a big
cooperation.The overall message-if aliens arn't visiting this

planet there's a REASON!The movie uses stark settings and is
shot very surreally so it isn't for those without the most
open mind to avante-garde film making.Bowie,having already had
mime and theatre experience (and being the dramatic Ziggy Stardust of course) is brilliant as an actor and it is all too
believable that he doesn't come from Earth (I wonder if Bowie
really IS an alien sometimes anyway).But for those who can make
their mind and visual spectrum stretch and who don't mind a sadly
ironic ending you will enjoy this film.

Another sub-par Anchor Bay disc
I suppose the flimsy slipcase, free-floating booklet design was intended to ward off Chinese pirates (Arrrh!) and sidewalk counterfeiters; however, the presentation is so awkward and unsatisfying to the die-hard collector that I've decided to consign this must-see film to my permanent memory bank and ditch this coaster set. As my collection grows, I find it increasingly difficult to find time to watch everything I've got (let alone multiple viewings which, if you think about it, is kind of the point of having a disc) and, thus, previously essential items are being turfed if they do not conform to Criterion-like presentation standards; heck, I'm even ditching some Criterions (take that, Antonioni!). Anyways, excuse the ramble folks and enjoy the rest of the reviews. ... Read more

Description

Nicolas Roeg's mystical masterpiece chronicles the physical, spiritual, and emotional journey of a sister and brother abandoned in the harsh Australian outback. Joining an Aborigine boy on his walkabout-a tribal initiation into manhood-these modern children pass from innocence into experience as they are thrust from the comforts of civilization into the savagery of the natural world. ... Read more

Reviews (59)

Intricate Beauty
For some reasons I had reservations about seeing this film when I first heard about it; maybe because what I heard and the advertising I saw didn't begin to hint at its depth. Ostensibly its the story of two WASPs who get stranded in the Australian outback and meet an aborigine boy who helps them to surive their journey back to civilization. Most noticeably, for me, the movie criticizes the spiritual emptiness of civilized society and lets the viewer glimpse at some of uncharted territory's secret beauty. The movie works fine on this level. But its brilliance lies in how many different levels it does work, and its subtlety.

It is a tragic story of two people who fail to communicate. The blindess of the girl (presented in quite a harsh light, and a symbolic big slap in the face to whitey now that I rethink it) despite huge language and cultural differences is inept or unwilling to understand the aborigine boy's perspective. Indeed she is deeply rooted in Anglo-Saxon values -- only the young boy, her companion, is able to break down the barrier and communicate simple ideas.

There are points in the film that expose sexual tension as brilliantly and as subtley as I have ever seen. It is vastly important that the boy is not dramatized or stylized in any way, he seems really to have been picked out of the outback and cast directly in the movie. His behavior should seem at least somewhat bewildering to the audience, it was to me, particularly in the haunting mating dance scene. The girl rejects him out of a lack of understanding and fear, and he sheds tears of failure. Was sexual consumation a part of his walkabout or did he fall deeply for this girl. What are the cues to suggest the latter? I'd have to watch the movie again.

Walkabout is delicate and complex but doesn't spoil itself by becoming overambitious. There are many, many internal psychological and emotional aspects of the two children that remain rightfully unexplored. Suffice to say being shot at by your dad and stranded in the wilderness might create some wrenching immediate -- nevermind longterm -- consequences. The film could easily have veered off into myriad branches and lost track of itself. Roeg decides to focus on particular elements and does so meticulously and with grace.

And for the film's obvious disdain for civilized society, it doesn't necessarily suggest that the boy has an easier or more satisfying life. It merely presents a different angle -- though that angle is shot in breathtaking, but unsentimental, beauty. There is no sap in this film; the score is moving but does not grab forcefully at one's heartstrings. The shots of the outback are gorgeous, but they do not imply any false notions of peace in nature. And for these very reasons, the film, I would imagine, would be great at exposing both beauty and the harsh face of reality to kids despite all the complexity that wouldn't be understood.

ANOTHER LITTLE GEM FROM CRITERION
Second movie of director Nicolas Roeg, WALKABOUT is a rather pessimistic description of the cultural gaps created by our civilization. In order to illustrate his ideas, Roeg and writer Edward Bond imagine the encounter between two young australians lost in the outback and an aborigenes who will help them to come back to a more civilized world.

This encounter which could have produced a lifelong friendship will end in a dramatic manner. Because cultural differences are far more powerful than love or the desire to understand each other. Simple story, simple theme but universal.

Breath-taking cinematography, admirable young actors and a light poetic touch are sufficient reasons to see at least once WALKABOUT. It is also really amazing to observe how Nicolas Roeg has been able to convert this trip in the wilderness in a symbolic sexual initiation in the heart of a Nature that can only show the way to these young adults.

Terrific video transfer and above-average extra-features.

A DVD for the child in you.

walkabout
DONT LET THE OTHER REVIEWS THROW YOU> I honestly thought that the end credits were the best part of this movie. I thought that the acting was bad, the sound was horrible,there was no plot and there were quite a few tasteless scenes.I felt ripped off as the Criterion Collection usually has GOOD movies. Im sorry to say but someone goofed in picking this movie for the collection.

One of the Great Films
Walkabout is simply one of the best films ever made. The photography and editing are exceptional. The sound editing is better than in any other film I have seen.
However I disagree with SOME of the reviews which seem to indicate that the film is some kind of hymn of praise direted towards the primitive aboriginals and a condemnation of modern society. Roeg seems to be saying there are problems in both. After all, both the girl's father and the aborigine kill themselves, though more criticism is naturally reserved for civilization. There is plenty of animal killing here, but except for the white hunters, it is done for food so I don't see what the problem is. People who buy food from supermarkets really just want to mentaly distance themseselves from the foodchain process.
Still, the story, the scenery, the acting, and the direction make this a movie not to miss. The failed courtship scenes before the second suicide are some of the best sequences on film.

Coming of age in the outback of Australia
A very unusual film for its time, Walkabout combines many themes in what is ostensibly a tale of survival in the Australian outback. I suppose it was a bit too racy for American audiences as Roeg focuses lovingly on a young nubile Jenny Augutter but that would be missing the point of this movie which contrasts the sterile life of a young British girl and boy with an Aborigine man-child.

The film depicts the initial bleakness of the Australian desert which the two children find themselves thrust into after the father mysteriously chooses to commit suicide, but eventually shows the immense diversity of the outback as the young Aborigine leads the lost children back to civilization. Roeg uses a variety of cinematic techniques to paste together his poetic vision, ultimately developing the sexual tension between Agutter and the Aborigine, culminating in a fateful courting ritual which Agutter appears oblivious too. However, the star of the movie is the little boy, Luc Roeg, who forms a very special bond with the Aborigine.

The film may be too much to handle for small children, but it is ideal for teenagers, as it will give them a very different experience from the run-of-the-mill teen movies that proliferate in the video stores. Don't fret over the R rating, as the nudity is fleeting and treated in a very respectful way. In Britain, the rating is 12 for young teenagers. ... Read more

Description

Ten of the world's greatest directors produce one unforgettable film in this sumptuous visual and musical feast based on the most famous arias in the history of opera. Erotic, violent, thought-provoking, funny, and moving, this critically-hailed milestone features the electrifyingly erotic film debut of Briget Fonda, a revealing appearance by supermodel Elizabeth Hurley (Austin Powers), and unforgettable performances from John Hurt (Harry Potter and the Sorcerer's Stone), Tilda Swinton (The Deep End), Beverly D'Angelo (Vacation), Theresa Russell (Wild Things), and many more! Segments directed by Robert Altman (Gosford Park), Bruce Beresford (Double Jeopardy), Bill Bryden, Jean-Luc Godard (Contempt), Derek Jarman (Edward II), Franc Roddam (Quadrophenia), Nicolas Roeg (Performance), Ken Russell (Tommy), Charles Sturridge (Longitude), Julien Temple (The Filth and the Fury). ... Read more

Reviews (10)

Liz Hurley's first important role in a movie
This movie provided Liz Hurley with her big break. Soon after this, Dennis Potter snapped her up for the lead role in the BBC adaptation of Christabel Bielenberg's 'The Past is Myself'. She became Hugh Grant's girlfriend and the rest is history. She transformed herself physically during her twenties, which is why some viewers have had problems identifying the occasionally nude actress that appears here as the very slim Liz Hurley they now know.

For me, 'Aria' was the classical music community's response to the rise of MTV and the pop video. Directors like Ken Russell and Nick Roeg wanted to show us that opera could be equally colourful and sexy, even if you couldn't dance to it. And they proved their case, to my mind.

But like a pop video, you wouldn't want to watch this too often. There's no substantive connection between each of the videos, so you end up feeling much the same as you would after a 90-minute immersion in MTV.

A Visual and audial smorgasbord
I have loved this movie for years. Granted, it may be for deep film buffs, but it is powerful.

Each vignette offers a top director's interpretation of a provocative aria. Opera lovers know how emotionally provocative the music can be; and that raw emotion is shown by each director.

The love story is one of the most romantic and tragic stories I have ever seen--the images are still in my mind 10 years after first seeing it. I had enjoyed a light introduction to opera before this movie, but after feeling the raw emotions this film created in me, I bought a few opera CDs based simply on first hearing the arias in this movie. There is even some VERY funny stuff is one scene.

So, in summary, the music, images, and emotions from this movies were all so intense, they've stayed with me for years. If you can take the intensity, do not miss out on this powerful movie that can be both sublime and intense at the same time.

The movie that started me on opera
I first saw Aria in the theater back in high school (about 3 million years ago) and only because I wanted to impress a girl way more artistic than myself.

It worked, but not in a way I'd expected. The movie, a series of vignettes, runs the whole emotional spectrum. In my younger days, we were blown away by the Wagner/Roddam piece starring a young Fonda, so loving and jarring at the same time. These days I find all the music beautiful, but one or two of the vignettes boring. The entire movie is beautifully shot and all deserves to be watched at least once.

After having done that you'll find continual enjoyment watching Sturridge, Beresford, Roddam, Jarman, and Bryden's interpretations.

Who knows, you might fall in love with opera too.

Great the first time, tends average, not for everyone
This movie was great the first time, on the big screen. The music and the images shock you, and make you squirm and react to this movie. It's an artistic roller coaster ride.

I've found since, however, that this shocking quality doesn't preserve especially well. My favorite way of watching this movie these days, is to turn the music on, while I'm doing stuff around the house, occassionally looking at the images.

It's artistry, it doesn't hold up under critical thinking.

Who will like this movie? Despite (or perhaps because of) the billing of mature content, I think that this is a good film for teenage viewers with a liking for art films. One must be able to appreciate both the variety and intensity of the images, and be able to forgive the story. Not a problem in an action movie, but for an "art film", it shows it's high concept roots.

Maybe a gift for an opera lover, or an "art film" buff.

A Most Incredible Experience
Aria is 90 minutes of pure wonderment -- I'm not certain what demographic this project was aimed at, but I definitely fall into it. You have to love opera style music yet not be so attached to the operas themselves that the re-presentation of the music offends. You have to enjoy video that your average couch potato won't get, no matter how many mind altering drugs he takes.

To really enjoy Aria, you have to check your expectations at the door and accept it for what it is -- a set of brilliant visual explorations fueled by some of the most incredible music ever written. With any other attitude, you're far more likely to find this a miserable experience. Too vulgar, too highbrow, too bizarre, too surreal, too whatever.

Some pieces tell a solid story, ranging from humorous to tragic. Others lack story line and speak to a different level of consciousness. Pathos. Humor. Death. Life. Celebration. Brilliance. Aria cleanses windows of perception, like a good wine between courses of a meal. On the other hand, it's a main course, in and of itself.

This is not fodder for young children, and most teens won't have the patience for it either. If you thought "Dude, Where's My Car?" was a brilliant movie, perhaps you'd better pass on this one as well. I only wish that more Wagner had been included ... perhaps an Aria II consisting solely of Wagner arias?

(If you'd like to discuss this movie or review in more depth, click on the "about me" link above and drop me an email. Thanks!) ... Read more

Description

When Marilyn Monroe and Albert Einstein meet one sweltering night in New York City in 1953, the result is an evening of mistaken identities and marital misgivings.Gary Busey, Theresa Russell and Tony Curtis star in this turbulent comedy of secrets and lies from which no one emerges unscathed. ... Read more

Reviews (5)

MARILYN MONROE explains "E=Mc2" to Albert Einstein!
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The film opens with an establishing shot of the "movie star" (Marilyn Monroe) shooting the most iconic scene of her career: standing over a New York subway grate while waiting for the wind of a passing train to whoosh her skirt up around her ears.

We then follow the "movie star" as she goes shopping while enroute to a clandestine nocturnal visit to "the scientist" (Albert Einstein) to teach him a lesson in relativity.

The best part of this rather bizarre film is the lengthy scene in which Marilyn Monroe (played quite convincingly by Theresa Russell) explains the theory of relativity to Albert Einstein.

Of course the denouement is when we realize that Marilyn doesn't even really understand the complex theory she has so perfectly demonstrated (with toy cars, trains, and flashlights), but that she has only *memorized* her explanation of the theory, as the actress herself would memorize her lines for a film role.

The other characters in the plot are "the senator" (Joe McCarthy of the infamous "McCarthy-era" witch-hunt of the 1950's) and "the ballplayer" (Joe DiMaggio, the "movie star's" husband (NOT Babe Ruth, as described by some idiot in another Amazon review posted here!). These characters serve purpose to bring a dark sub-plot or two to an otherwise unusually entertaining storyline.

Unfortunately, it all turns tragic, and ends mysteriously.

I know nothing about this director's other film work, but this film stands alone as a classic of the bizarre. I have enjoyed it through repeated viewings throughout the years.

Worth watching at least once
What if Albert Einstein, Marilyn Monroe, Babe Ruth and Senator McCarthy were all in the same hotel during the same night, and their lives crossed ? You have to admit you can't go wrong with a premise like that. Unfortunately as much against science as it for science, and a rather anti-progressist ending. It's too bad, because it's a lot of fun.

Worth watching once if only for scenes like Marilyn Monroe demonstrating relativity to Einstein with miniature trains and flashlights, Babe Ruth telling Einstein how many packs of gum he's been featured on, and Monroe dancing with her skirt on fire in the middle of a nuclear explosion (don't ask).

Roeg begins to stumble
"Insignificance" is a wonderful film. It has strong visual flair and Theresa Russell(the actress) and Michel Emil(the professor) are very good.....HOWEVER....
This is NOT the best film Nicolas Roeg has done. In fact I have to say that when compared to his earlier work, it's very weak. Roeg can be a very demanding director and anyone watching his films must be prepared to participate and not expect to be spoonfed everything you need to know about what you are seeing. This is what I love about his films but "Insignificance" seems confusing just for the sake of it. To me this film represents what has gone wrong with Roegs later work. The material just doesn't fit well with his idiosyncratic style. There isn't really any need for this film to be so strange. I sometimes think that Roegs' ultimate artistic drop came with his working so much with his wife Theresa Russell. They met while Roeg was filming "Bad Timing"(Roegs most brutal and accomplished film..DVD please!!) and since then Roegs films gradually declined in quality. A shame really because at one time Roeg was one of the strongest directors in the 70's. If you want to see this true artist at his best then see "Performance", "Walkabout", "Don't Look Now", "The Man Who Fell To Earth", "Bad Timing" and "Eureka". From "Insignificance" and onward Nicolas Roeg has found promblems with his choice of material to film.

A Feast for the Mind and Eyes
Those who say that "Eureka"(1981) was Nicolas Roeg's last great movie either have not seen "Insignificance"(1985) or have vastly underestimated it.All the trademarks of a Roeg film are here; surrealism, spectacular visuals and a uniquely intelligent story.The idea that Marilyn Monroe and Albert Einstien had an intimate relationship is explored here with great gusto. Misconceptions about Monroe's intelligence and Einstien's intellectual elitism are shattered here although her baseball player husband(DiMaggio)is what the viewer would expect.The climax is both unpredictable and mind blowing. All in all, Russell and veteran cast are great and Roeg's craftsmanship is uniformly excellent.

Significant
One of my all time favorite films. Thought provoking. Insignificance reminds us that we are part of a much larger picture. How something that may seem like a minor incident to one person is a major occurrence to another. Guess it goes back to that Native American saying about not judging (or assuming about) another person until you walk a mile in there moccassins. ... Read more

Reviews (11)

Eureka.....A masterwork...
Nic Roeg has made a number of great films, aka 'Bad Timing', 'Don't Look Now' etc but 'Eureka' is a masterwork, a work of true genius. And it stems, like all great films, from a great script.....this time from Paul Mayersberg.
The subject deals with the problem of success. What do you do when you find what you've always been after ?
A fantastic cast headed by the trio of Gene Hackman, Theressa Russell, and Rutger Hauer weave their way through a complex plot based on the book 'Who Killed Sir Harry Oats' by Marshall Houts.
If you like film, structure and complex characterisation then this is a must see. Watch it before you die.

Not quite vintage Roeg
It's taken a long time to be released, but at last 'Eureka' is available on DVD. There are no extras, except for the trailer, which is a shame.

To my knowledge, this 1983 film has been screened only very rarely on terrestrial TV -- just once in the UK, for example, in the late 1980s on BBC2. At the time, viewers were given a great intro to the film -- i.e. how it was loosely based on true story, and how it had existed in several versions etc etc. Because of that, I've always felt this was a British film -- with people like Roeg, Jeremy Thomas, Lapotaire and many British actors in minor roles. But most of the major roles are taken by US actors -- e.g. Gene Hackman, Mickey Rourke, Joe Pesci etc.

This is the same version as shown on TV -- i.e. with all the gore, nudity and voodoo -- if you prefer to stay away from that sort of thing. Although Theresa Russell has done many good things, I'm not convinced by her acting in this one. But at the time, she was one of the most beautiful women in the world, and it is surprising that Roeg is prepared to share so many views of his wife with the cinema-goer.

As a plot and an atmospheric experience, I don't think this works as well as say, DON'T LOOK NOW. Once Hackman has been killed, it becomes too much of a courtroom drama. In other words, the climax comes too early in the film. Much is made of women with black hair -- McCann's wife, daughter and the hooker who guides him to the gold. And we have a literal and several figurative gold-diggers. In the end, I don't feel this movie has any grand message for the world, except perhaps the pointlessness of having so much wealth if you don't do anything with it. (Maybe Bill Gates has already seen this.)

But I'm glad it's now available, and we come close to having nearly all Roeg's significant work out on DVD.

"I once had it all. Now, I just have everything."
By owning tons of books of film criticism, the reviews I've read about EUREKA are so sundry and varied. The validities that critics have brought up about the film (both positive and negative) are justified, which had given me an unsure opinion on the EUREKA's true value. I have watched the film several times and examining the fact that it has never ceased to amaze me, EUREKA has engraved a place in the list of my favorite films. The cinematography (specifically the imagery in the cold of the Yukon) have haunted me whenever I talk to people about great photography in films. What amazes me more is that great actors such as Gene Hackman, Rutger Hauer, Mickey Rourke and Joe Pesci put such faith in the arthouse movement in order to star in what some consider a Nicolas Roeg relic in a realm of such diverse arthouse efforts by major studios (United Artists reportedly put up "mucho dinero" for this film to be made).

The film follows Jack McCann (Gene Hackman) throughout his life and legacy. It begins in the Yukon and his crusade to find the summit of all dreams and fantasies...the quest to find gold. Exclaiming "I never earned a nickel from another man's sweat", McCann sets foot throughout the ravaged Canadian wilderness, through towns which are developing into ghost towns as well as the acquired warmth of whorehouses ("Gold smells stronger than a woman"). When McCann finds the gold (in a wonderfully wrought orgasmic sequence when gold flows out like a million waterfalls as McCann roars in ecstasy. We then juxtapose from the iciness of the Yukon to the glow of the Caribbean with wife (Jane Lapontier) puttin' it on the sauce and turning Tarot cards and daughter (Roeg's wife Theresa Russell) woefully throwing herself at a handsome but devious Dutch playboy (Rutger Hauer). Meanwhile, McCann's island paradise is almost literally going to the gods as both Miami gangster (Pesci) and lawyer sidekick (Mickey Rourke) conspire to overthrow his island empire appropriately named "Eureka".

The "courtroom histrionics" that Maltin so much complained about in the film's final third are essential to character metamorphasis as the ambience of Hackman's McCann character flows into free-spirited Hauer, who he once scorned in hatefulness. It is important to realize that this character transmographication explains the nuances throughout the film, with its numerous allusions to voodoo and tokens of character's fortune. Nicolas Roeg, who gave audience such stylish and surreal tales like DON'T LOOK NOW and PERFORMANCE, is in fine form and his complete respect for technique is what ultimately makes the film unforgettable.

Hackman's McCann character, in a scene with Lapontiere, is in bed looking around at all he has, dissatisfied with what he and his environment has evolved into, retorts "I used to have it all...now I just have everything." A perfect line to express the film's convictions. EUREKA is, in my opinion, the best film of the three years it was distributed over. The film's epic offbeat structure only adds to its message. Some of the scenes illustrating Roeg's technique will make you shout "Eureka!"

GREAT MOMENTS.....MANY FLAWS
Nicolas Roeg was once one of the GREAT directors of the 1970's. With "Performance", "Walkabout", "Don't Look Now", "The Man Who Fell To Earth" and "Bad Timing" he built a reputation for being a man who didn't compromise his vision to just pander to mere entertainment. Indeed these 5 movies are his most rewarding and challenging works. With "Eureka" Roeg begins to slip. There are some great Roegian moments in the film and the first half with Gene Hackman is compelling at times but as the film goes on it loses steam and just simply turns into a courtroom drama. From what I've read of Roeg, he likes this film very much and while it is very good in places as a whole it just doesn't have that vision that his previous work had. After this film his choices of material did not match his odd style and seem mostly like vehicles for Theresa Russell(it seems he was a better director BEFORE she came into the scene).

Enough Roeg in the first hour
The first hour of this Nicolas Roeg film is vintage Roeg: otherworldly, mysterious, kinky, violent, mesmerizing, confounding. All of the good stuff. The second hour is a drawn out courtroom drama concerning the events of the first hour that is equally confounding, but negatively so. Roeg aficionados should jump at the chance to purchase this. It is a rare find on Amazon.com. I tend to watch the first hour repeatedly and skip the ending. Not a bad thing, actually, as there is enough Roeg to go around the first hour. ... Read more

Description

A hypnotic tale of power, passion and obsession set in a politically torn Eastern European country. ... Read more

Reviews (3)

warning - bad dvd
The 1-star rating is for the DVD produced by Fox Lorber.

I am always eager watch to a Nicolas Roeg film, who directed what is one of my favourite films - 'Walkabout'. All the more so when Michael Gambon, a brilliant actor, is in it. Unfortunately, I could not watch this DVD. The quality of the picture is bad beyond belief. Do not attempt to purchase this. How can people manufacture this? Have they no shame?

good roeg, bad fox lorber
Roeg fans will like this film. It doesn't have all of the bravura of a Eureka, while at the same time it does have the chamber elements of Insignificance. Note, however, that the Fox Lorber DVD is horrible: it's in the 1.33 aspect ratio, and looks like a poor tv video master -- blurry, smeared, jittery. So not only is it pan-and-scan, but it's a poor pan-and-scan!

Excellent Actors and Acting
This is an excellent story set during the Romanian Revoluation of 1989. The actors are superb, Patrick Malahide (my favorite), Michael Gambon, Sonia Braga, Nicholas Grace. I was really captivated by the flashbacks, and by the dining table servings. I have watched it several times and will still continue to watch it. Thank you very much for an excellent movie. ... Read more

Amazon.com

While other films directed by Nicolas Roeg have attained similar cult status (including Walkabout and Don't Look Now), none has been as hotly debated as this languid but oddly fascinating adaptation of the science fiction novel by Walter Tevis. David Bowie plays the alien of the title, who arrives on Earth with hopes of finding a way to save his own planet from turning into an arid wasteland. He funds this effort by capitalizing on several highly lucrative inventions, and in so doing becomes the powerful leader of an international corporate conglomerate. But his success has negative consequences as well--his contact with Earth has a disintegrating effect that sends him into a tailspin of disorientation and metaphysical despair. The sexual attention of a cheerful young woman (Candy Clark) doesn't do much to change his outlook, and his introduction to liquor proves even more devastating, until, finally, it looks as though his visit to Earth may be a permanent one. The Man Who Fell to Earth is definitely not for every taste--it's a highly contemplative, primarily visual experience that Roeg directs as an abstract treatise on (among other things) the alienating effects of an over-commercialized society. Stimulating and hypnotic or frightfully dull, depending on your receptiveness to its loosely knit ideas, it's at least in part about not belonging, about being disconnected from the world--about being a stranger in a strange land when there's really no place like home. --Jeff Shannon. ... Read more

Reviews (68)

TERRIFIC SCI-FI...
I first saw this film when it was released in the mid nineteen seventies. I recalled how much I had enjoyed it, when I saw that it was available in DVD. The DVD itself is disappointing, as it offers virtually none of the features one has come to expect from a DVD.

This aside, the film itself, though somewhat abstract, is terrific, as it is not just a science fiction film with a twist. It is a film that explores themes that are timeless: desolation, alienation (no pun intended), and loneliness. At times, these themes are palpable, due to David Bowie's wondrously androgynous performance, which is heartbreakingly moving at times.

The plot is fairly simple. An alien, Davie Bowie, leaves his family on his dying and arid planet in search for water. He lands on earth and begins his project to send water to his devastated planet by amassing the wealth that he needs to do this. He patents numerous lucrative inventions which eventually find him at the head of a world wide conglomerate. He joins up with a kindly, though stupid and vapid woman who drinks gin like a fish, Candy Clark, with whom he begins a liaison of sorts. Yet, he is always lonely and melancholic, and like her, begins to spiral into an alcoholic haze, sometimes sidetracking him from his purpose here.

At some point, excruciatingly sad and lonely, longing for his family, he reveals himself to her for who he truly is, shedding his earthly appearance, only to be met with absolute horror and repugnance by her at the sight of him. She ultimately tries to understand him, but it is truly beyond her ken. He is infinitely sad at this and longs all the more for home.

On the threshold of returning to his planet and loved ones, he is kidnapped by corporate raiders who take over his holdings, and it is here that the movie begins to disintergrate somewhat. Yet, it remains strangely hypnotic and compelling, and becomes a sort of "Lost Weekend" of betrayal, booze, and promises that will never be kept. A parable of wanting to belong, yet knowing one never will. A story about wanting to go home, but knowing on some level that one can truly never go home again.

Restored science fiction art classic
It was an odd year. 1976 saw the release of Logan's Run with its occasionally heavy handed parable about the youth culture, Ralph Bakshi's Wizards gathered steam at the box office and included a trailer for some movie called Star Wars. Along came Nickolas Roeg with his arthouse science fiction epic and totally mystified everyone. David Bowie is perfect as the alien in this classic science fiction film. He's left his arid, dying planet and come to Earth in hopes that some of "his" inventions could create enough capital so that he can take resources from our planet to save his.

Unfortunately, Bowie's character pretends to be human all too well--he's sucked into the very flaws that cripple humanity. He becomes a victim of our culture rather than master of it. Roeg's film is fragmented and spooky (particularly the scene where Candy Clark discovers that Bowie's character has various attachments to make him seem human). The visually unsettling photography and editing help bring an edge to the film. Roeg manages to fuse science fiction to his European art sensibilities very well. In fact, Man is probably Roeg's most powerful film outside of Don't Look Now his gothic take on the horror film.

Anchor and Bay have restored the film to its original, uncut running time. They also have gone back to the original negative and camera elements to create as sharp a print as I've ever seen. The aspect ratio is finally correct and the sound, while not perfect, is a huge improvement over the previous DVD, video and television versions that have been floating around.

How to explain this movie...
This is one of those films that is best watched in the dark, by yourself, because sometimes, you just might want to shout out "WHAT?"

Basically this movie is a great cult classic about an alien who comes to our planet in search of water for his desert planet. David Bowie... how do you rate his performance with that of other conventional actors? You can't. He is brilliant in his role as Mr. Newton! I was completely mesmerized and even attracted to him as the thin redhead. I was surprised however that he was completely unclothed in one scene, but hey, it didn't hurt any part of the movie!

I would recomend this to anyone, period. I give the movie a 5, but Bowie's performance gets a 10!

Loving The Alien
I never went into thi film expecting anything that
conventional,considering David Bowie stars in it.But it is a
socially relevant science fiction movie about an alien who comes
to Earth in search of water to aid his draught-ridden planet and
in the process get's caught up in the corrupt politics of human
culture.In the end he basically forgets why he came to Earth to
start with after falling in love and becoming owner of a big
cooperation.The overall message-if aliens arn't visiting this

planet there's a REASON!The movie uses stark settings and is
shot very surreally so it isn't for those without the most
open mind to avante-garde film making.Bowie,having already had
mime and theatre experience (and being the dramatic Ziggy Stardust of course) is brilliant as an actor and it is all too
believable that he doesn't come from Earth (I wonder if Bowie
really IS an alien sometimes anyway).But for those who can make
their mind and visual spectrum stretch and who don't mind a sadly
ironic ending you will enjoy this film.

Another sub-par Anchor Bay disc
I suppose the flimsy slipcase, free-floating booklet design was intended to ward off Chinese pirates (Arrrh!) and sidewalk counterfeiters; however, the presentation is so awkward and unsatisfying to the die-hard collector that I've decided to consign this must-see film to my permanent memory bank and ditch this coaster set. As my collection grows, I find it increasingly difficult to find time to watch everything I've got (let alone multiple viewings which, if you think about it, is kind of the point of having a disc) and, thus, previously essential items are being turfed if they do not conform to Criterion-like presentation standards; heck, I'm even ditching some Criterions (take that, Antonioni!). Anyways, excuse the ramble folks and enjoy the rest of the reviews. ... Read more

Description

Ten great directors, one unforgettable film. Imagine that ten of the world's most well-known, highly regarded filmmakers were given a free hand to make real any vision. "Aria" is that history-making film. Sexy, violent, thought-provoking and funny, here is the movie critics raved about, audiences flocked to see, and no one could stop talking about. Includes Bridget Fonda's electrifyingly erotic film debut and a revealing, breathtaking performance by supermodel Elizabeth Hurley. Segments directed by Robert Altman, Bruce Beresford, Bill Bryden, Jean-Luc Godard, Derek Jarman, Franc Roddam, Nicolas Roeg, Ken Russell, Charles Sturridge, Julien Temple. ... Read more

Reviews (68)

TERRIFIC SCI-FI...
I first saw this film when it was released in the mid nineteen seventies. I recalled how much I had enjoyed it, when I saw that it was available in DVD. The DVD itself is disappointing, as it offers virtually none of the features one has come to expect from a DVD.

This aside, the film itself, though somewhat abstract, is terrific, as it is not just a science fiction film with a twist. It is a film that explores themes that are timeless: desolation, alienation (no pun intended), and loneliness. At times, these themes are palpable, due to David Bowie's wondrously androgynous performance, which is heartbreakingly moving at times.

The plot is fairly simple. An alien, Davie Bowie, leaves his family on his dying and arid planet in search for water. He lands on earth and begins his project to send water to his devastated planet by amassing the wealth that he needs to do this. He patents numerous lucrative inventions which eventually find him at the head of a world wide conglomerate. He joins up with a kindly, though stupid and vapid woman who drinks gin like a fish, Candy Clark, with whom he begins a liaison of sorts. Yet, he is always lonely and melancholic, and like her, begins to spiral into an alcoholic haze, sometimes sidetracking him from his purpose here.

At some point, excruciatingly sad and lonely, longing for his family, he reveals himself to her for who he truly is, shedding his earthly appearance, only to be met with absolute horror and repugnance by her at the sight of him. She ultimately tries to understand him, but it is truly beyond her ken. He is infinitely sad at this and longs all the more for home.

On the threshold of returning to his planet and loved ones, he is kidnapped by corporate raiders who take over his holdings, and it is here that the movie begins to disintergrate somewhat. Yet, it remains strangely hypnotic and compelling, and becomes a sort of "Lost Weekend" of betrayal, booze, and promises that will never be kept. A parable of wanting to belong, yet knowing one never will. A story about wanting to go home, but knowing on some level that one can truly never go home again.

Restored science fiction art classic
It was an odd year. 1976 saw the release of Logan's Run with its occasionally heavy handed parable about the youth culture, Ralph Bakshi's Wizards gathered steam at the box office and included a trailer for some movie called Star Wars. Along came Nickolas Roeg with his arthouse science fiction epic and totally mystified everyone. David Bowie is perfect as the alien in this classic science fiction film. He's left his arid, dying planet and come to Earth in hopes that some of "his" inventions could create enough capital so that he can take resources from our planet to save his.

Unfortunately, Bowie's character pretends to be human all too well--he's sucked into the very flaws that cripple humanity. He becomes a victim of our culture rather than master of it. Roeg's film is fragmented and spooky (particularly the scene where Candy Clark discovers that Bowie's character has various attachments to make him seem human). The visually unsettling photography and editing help bring an edge to the film. Roeg manages to fuse science fiction to his European art sensibilities very well. In fact, Man is probably Roeg's most powerful film outside of Don't Look Now his gothic take on the horror film.

Anchor and Bay have restored the film to its original, uncut running time. They also have gone back to the original negative and camera elements to create as sharp a print as I've ever seen. The aspect ratio is finally correct and the sound, while not perfect, is a huge improvement over the previous DVD, video and television versions that have been floating around.

How to explain this movie...
This is one of those films that is best watched in the dark, by yourself, because sometimes, you just might want to shout out "WHAT?"

Basically this movie is a great cult classic about an alien who comes to our planet in search of water for his desert planet. David Bowie... how do you rate his performance with that of other conventional actors? You can't. He is brilliant in his role as Mr. Newton! I was completely mesmerized and even attracted to him as the thin redhead. I was surprised however that he was completely unclothed in one scene, but hey, it didn't hurt any part of the movie!

I would recomend this to anyone, period. I give the movie a 5, but Bowie's performance gets a 10!

Loving The Alien
I never went into thi film expecting anything that
conventional,considering David Bowie stars in it.But it is a
socially relevant science fiction movie about an alien who comes
to Earth in search of water to aid his draught-ridden planet and
in the process get's caught up in the corrupt politics of human
culture.In the end he basically forgets why he came to Earth to
start with after falling in love and becoming owner of a big
cooperation.The overall message-if aliens arn't visiting this

planet there's a REASON!The movie uses stark settings and is
shot very surreally so it isn't for those without the most
open mind to avante-garde film making.Bowie,having already had
mime and theatre experience (and being the dramatic Ziggy Stardust of course) is brilliant as an actor and it is all too
believable that he doesn't come from Earth (I wonder if Bowie
really IS an alien sometimes anyway).But for those who can make
their mind and visual spectrum stretch and who don't mind a sadly
ironic ending you will enjoy this film.

Another sub-par Anchor Bay disc
I suppose the flimsy slipcase, free-floating booklet design was intended to ward off Chinese pirates (Arrrh!) and sidewalk counterfeiters; however, the presentation is so awkward and unsatisfying to the die-hard collector that I've decided to consign this must-see film to my permanent memory bank and ditch this coaster set. As my collection grows, I find it increasingly difficult to find time to watch everything I've got (let alone multiple viewings which, if you think about it, is kind of the point of having a disc) and, thus, previously essential items are being turfed if they do not conform to Criterion-like presentation standards; heck, I'm even ditching some Criterions (take that, Antonioni!). Anyways, excuse the ramble folks and enjoy the rest of the reviews. ... Read more