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The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home, chronicling a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.

Alternately seductive, exasperated, fearful, and murderous, James Gandolfini's Tony is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings.

In its second season, The Sopranos repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between Tony and Livia, whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Melfi also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow (Jamie Lynn Sigler), as well as son Anthony Jr.'s (Robert Iler) sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement.

In the brutal and controversial third season, The Sopranos justified its 11-month hiatus with some of its best, and most hotly debated, episodes. It continued to upend convention and defy audience expectations with a deliberately paced, calm-before-the-storm season opener that revolves around the FBI's attempts to bug the Soprano household, and a season finale that (for some) frustratingly leaves several plot lines unresolved. "Employee of the Month," in which Dr. Melfi is raped and considers whether to exact revenge by telling Tony of her attack, earned Emmys for its writers, and is perhaps Emmy nominee Lorraine Bracco's finest hour. Other story arcs concern the rise of the seriously unstable Ralph Cifaretto (Joe Pantoliano) and Tony's affair with "full-blown loop-de-loo" Gloria (Emmy nominee Annabella Sciorra). Plus, there is Tony's estrangement from daughter Meadow, his wayward delinquent son Anthony, Jr., Carmela's crisis of conscience, bad seed Jackie Jr., and the FBI--which, as the season ends, assigns an undercover agent to befriend an unwitting figure in the Soprano family's orbit.

Though for some the widely debated fourth season contained too much yakking instead of whacking, and an emphasis on domestic family over business Family, in most respects The Sopranos remains television's gold standard. The season garnered 13 Emmy nominations, and subsequent best actor and actress wins for James Gandolfini and Edie Falco as Tony and Carmela, whose estrangement provides the season with its most powerful drama, as well as a win for Joe Pantoliano's psychopath Ralph. Other narrative threads include Christopher's (Emmy nominee Michael Imperioli) descent into heroin addiction, Uncle Junior's (Dominic Chianese) trial, an unrequited and potentially fatal attraction between Carmela and Tony's driver Furio, and a rude joke about Johnny Sack's wife that has potentially fatal implications. Other indelible moments include Christopher's girlfriend Adriana's projectile reaction to discovering that her new best friend is an undercover FBI agent in the episode "No Show," Janice giving Ralph a shove out of their relationship in "Christopher," and the classic "Quasimodo/Nostradamus" exchange in the season-opener, which garnered HBO's highest ratings to date. Freed from the understandably high expectations for the fourth season, heightened by the 16-month hiatus, these episodes can be better appreciated on their own considerable merits. They are pivotal chapters in television's most novel saga.

From the moment a wayward bear lumbers into the Sopranos' yard in the fifth-season opener, it is clear that The Sopranos is in anything but a "stagmire." The series benefits from an infusion of new blood, the so-called "Class of 2004," imprisoned "family" members freshly released from jail. Most notable among these is Tony's cousin, Tony Blundetto (Steve Buscemi, who directed the pivotal season 3 episode "Pine Barrens"), who initially wants to go straight, but proves himself to be something of a "free agent," setting up a climactic stand-off between Tony and New York boss Johnny Sack. These 13 mostly riveting episodes unfold with a page-turning intensity with many rich subplots. Estranged couple Tony and Carmella (the incomparable James Gandolfini and Edie Falco) work toward a reconciliation (greased by Tony's purchase of a $600,000 piece of property for Carmela to develop). The Feds lean harder on an increasingly stressed-out and distraught Adriana to "snitch" with inevitable results. This season's hot-button episode is "The Test Dream," in which Tony is visited by some of the series' dear, and not-so-dearly, departed in a harrowing nightmare. ... Read more

Description

An urban Maori family deals with great difficulties in adjusting to normalcy in urban New Zealand. ... Read more

Reviews (99)

The Clashing of Cultures Brings Ruin
ONCE WERE WARRIORS is a gem of a movie that received little play in the United States. And that is a shame since this film is one of the most brutal and unforgettable exposes of the disintegration of a native culture after debilitating contact with a colonially suffocating one. Director Lee Tomahori presents a poverty-stricken subculture of the Maori tribe in New Zealand, one in which the dissolution of the formerly strong tribal bonds and rituals becomes increasingly evident in each scene. Part of the appeal of this movie is that the theme of cultural sabotage is often repeated in many cultures--and not just in third world cultures that accept Burger King rather than their own gods as a worthy pantheon.

Temuera Morrison is Jake, a brute of a husband who finds that his place in society has been undercut by a Western civilization that seems bent on putting Guess jeans on all the natives. Jake finds it difficult to hold a job so he spends his days drinking in pubs with his mates. He brawls, he drinks, he abuses his long suffering wife Beth (Rena Owen) whenever his self-esteem dips below a critical level. Beth tries hard to maintain some semblance of normalcy, but with one son in prison, another seeking to join a gang, and a teenage daughter trying to face the issues of her own burgeoning sexuality in a male-dominant society, she finds this job impossible. She loves Jake, but she hates what he has become, and there is no easy solution.

Nearly all the major characters are blighted in some way by their inability to adjust to their newer and low-class status in a Western culture than relegates their own to disrepute. Much of the film is filled with the raw violence of bar room brawls, ugly scenes of domestic abuse, and rape. All of this violence serves to underscore the need of a disenfranchised people to look within themselves to find the pride and respect that once marked them as warriors. Most fail, but the few who do not suggest that the recovery of basic human decency transcends cultures and borders so that any who see this marvelous movie can take heart that brutes like Jake are dinosaurs, eventually to be replaced by adaptable survivors like Beth. The closing scene of Beth's son,now fully engaged in his gang's ritualistic dance of discipline, punctuates this most basic of human desires.

Superb acting and a point well made
It isn't hard to see why this movie garnered so many kudos after its release. The acting is superb. (Note: Temeura Morrison later stated that he was "scarred" for quite a while emotionally and mentally after playing Jake.) The unexcelled acting in AND the directing of this film, in this viewer's opinion, show the exact nature of family violence more clearly than other presentation in any media ever has. At first I was unwilling to see another film dealing with the subject, especially since I the results of domestic violence almost daily on my job. Now I say that if you watch only one film on the matter in your life, make it this one. For an American viewer, the fact that all the action takes place in Auckland, New Zealand helps give the distance needed for an honest perspective on the theme. Then the highly skilled actors (may we see more of all of them!)play the story out as it happens to thousands of families all over the world, totally stripping domestic violence of any excuse to be. By the heart-rending and horrific end of the movie there can be no doubt in anyone's mind that neither substance abuse, cultural conditioning, disenfranchised cultures, poverty nor a host of other things often invoked as "reasons" justify turning one's household into a war zone. Most family violence perpetrators are not hardcore psychopaths; they are "Jakes", and they have no excuse for what they do to their families. A beautiful film that makes its point without resulting to melodrama and sensationalism. It's a credit to all involved with the production that we look in on the lives of one family in crisis and realize, knowing that this scene is repeated thousands of time daily worldwide, the ultimate devastation brought about by "routine" family violence. A brilliant presentation. A "must see."

Film Of The Century!
Without discussing the content of this film, suffice it to say that the acting is absolutely phenomenal! The male and female leads are enormously talented!It's real ,it's raw, and I think that is the best example of acting that I have ever seen

Just sucks you in...
... and won't let you go. Really amazing story with people you really care for.

The best film of 1994
ONCE WERE WARRIORS is one of the most powerful films I have ever seen. Released at a time when NZ films weren't widely accepted, yet when audiences saw it ... they changed their minds. This was the most talked about film in Australia in 1994. It's one of those rare movies that made me cry.

Incredible performances from both male and female leads which contribute to the powerfulness of this film. The sequel from 1998 called "What Becomes of the Broken Hearted" is worth seeing, but not a patch on ONCE WERE WARRIORS.

Buy it, rent it, or whatever ... just get yourself a copy. You must have this DVD in your collection. ... Read more

Reviews (87)

The Edge
Couldn't have been better. Anthony Hopkins, Alec Baldwin, and Elle McPherson star in an awesome film from director Lee Tamori, with a great moral, great lesson, great number of suspenseful scenes, and is just plain a great flick. Hopkins plays billionaire Charles Morse, who with his wife (McPherson) and photographer friend Robert Green (Baldwin) and his partner decide to take a trip to the wild backwoods of Alaska. When Morse, Green, and their friend are thrown into the wilderness after a plane crash in a lake in the middle of who knows where, the group of men must add up eachother's bravery and try to escape from the edge, and not "die of shame", as quoted by Hopkins, while being pursued by a goliath kodiak bear. YOU HAVE TO SEE THIS MOVIE. It's rated R, BUT IT'S WORTH SEEING!

A Beauty That Can Devour!
The Edge is a very much underrated film that sadly did not get the proper recognition it deserves, for it is an above average multi-layered movie that works very well on many levels, all equally well written and directed.
New Zealander Lee Tamahori, with the excellent Once We Were Warriors to his name,and writer David Mamet manage to make a movie that offers much more than its genre might suggests, both on the drama and thriller levels.
First there is the breathtaking Alaskan wilderness, spaces so vast they are equally inviting and menacing.A Napoleon general, lamenting the disaster that befell the French army once said: 'The vasteness of Russia devours us'. In the Edge you will too get the impression that the beauty of this untamed nature can also devour: break the bodies and souls of our heroes, Anthony Hopkins and Alec Baldwin, both offering their most underrated acting best.
Three men are lost in the middle of a wilderness after their plane crash.The hope for an early return/rescue is dashed by the misleading spaces and a huge and determined Kodiak bear.One man, played by Harry Perrineau gets to know first hand about this determination,leaving Hopkins and Baldwin, bewildered, and weary,to try and escape with their lives.
This is when the film really starts. It becomes a journey of incredible hardship that will strip both men of their 'social' selves and replace it with the need to survive that will take them to the 'Edge' of endurance on one hand, and the depths of their own souls on the other. The animosities, tension and grudges that laid hidden between the two men emerge as a powerful and consistent force that mark their relationship from then on.
David Mamet has managed to write the 'Edge' that any human being can face whether lost in an unforgiving wilderness or anywhere else for that matter.It is simply how human beings change,and how social niceties is slowly eroded when the need to survive becomes the single driving force. This is a fine piece of writing!
Of course there is the thriller angle in the film..the bear, the master and primary predator of its environment,chasing two men that have been stripped from all the power and control they once possessed and taken for granted.
The direction and cinematography of these scenes are of top quality.
So if you want to watch gorgeous scenery, be scared of this huge and beautiful animal,or witness the changes incredible circumstances that trigger in men, then the Edge is the film for you eyes and mind, a journey that can easily be revisited in the safety of your own home.

Mamet's Mutt
This movie is so hokey and predictable, I can't believe it was written by the same mind who gave us "Glengarry Glen Ross." I have so many problems with this film, but I'll just list the main ones: (1) unoriginal plot (disaster strikes on a trip into the wilderness. Only the 999th movie to give us that lame storyline.) (2) After the "PLANE CRASH!!!", when the big bear is killed, all of a sudden there is no more bear threat. it's like there were only two bears in that whole wilderness. With all the bleeding going on between those three guys, bears would have been having a festival with those nimrods. (3) Then, it was so implausible to me that Alec Baldwin's character, Bob, would try to kill Anthony Hopkins' character, Charles, who had singlehandedly killed a bear and saved their lives --- because he, Bob, was SECRETLY in love with Charles' wife, the beautiful supermodel back at the warm cozy hunting lodge! Wouldn't he at least have waited until he was a little bit closer to being found? (4) Later, when Bob is injured and bleeding badly, he fades out for a second and Charles says "Don't die on me, Bob!" Hello! Is that not the most hackneyed line in show business? and (5) my personal favorite: just when Bob is playing his deathbed scene --- cue the helicopter to appear through the mountain fog! They're saved! All is well! But, (6) Ooops! Bob just died while the helicopter was buzzing the mountainside! Then, when it mercifully fades to black, we see "The producers would like to thank 'BART THE BEAR' for his contribution to this motion picture. Puhleeeeeeze! Just a horrible, unoriginal film. The only redeeming features were two performances: First and foremost Anthony Hopkins. He made chicken salad out of you know what. And believe it or not, supermodel Elle Macpherson, in the small role of Charles' wife, is not bad. It was a revelation to be a supermodel come through with an understated performance with some nice depth even when she's not speaking; it was very nice. As far as the other actors, they were all right, but nothing great. Alec Baldwin did his usual grimacing, shouting and gnashing of teeth; nothing new from him. I stayed up until 3:30 in the morning watching this thing, waiting for it to become a good film. I kept telling myself "This is Mamet. Come on!" A total disappointment. At least the cinematography was good. And the music was quite good. But the rest of it: A big ole stinker. But I am giving it 2 stars, just because it's Mamet, and I'm sure if I know Hollywood, they probably made him put in some of that junk.

ANTHONY HOPKINS IS INCREDIBLE IN THIS MOVIE !
A man who possess many bilions dollars and a privats plane has not friend every people see his fortune an nothing other as this hunter qui speak to him, after a few minutes, he can discern than he is same at the other, but he possess a trump in his play, he has an instinct to be able to the survival at any problem witch can arrives without attain his force morale he will be bound to rescue his life, and the lifes of his real enemy
after a crash witch bring about the death of the pilot of the plane, and also later a young man who will be devoured by a GRIZZLY who can smell the blod at many miles around a wound the three men, thus, when they will be only two, the reals sentiments will appear time after time INCREASINGLY ! But who will be SURVIVOR at this reculiar fight for the life AGAINST the death ?

The rabbit is smoking a pipe.
A juggernaught of a film, THE EDGE delivers and then some. Extreemly well written, expertly lensed, wonderfully acted, mature, exciting, edge of your seat entertainment that moves like a hungry mankilling bear after a portly english thesbian. Fast. A great adventure tale that's grounded in reality, making it THE ultimate survival flick. THE EDGE also bennefits from a strong plot as well, a story thick with character development (another in the long string of superb HOPKINS performances) and edge of your seat cliffhangers. Oh, and a giant bear whose desire for dining on human flesh is insatiable. Great DVD viewing, there is a lack of extras on the disc but with a film this good all you need is the feature. ... Read more

Reviews (27)

A pleasure to watch
A beautifully shot, low-key noir flick, MULHOLLAND FALLS is a pleasure to watch, despite a too predictable plot and sleepy pacing. I guess we're supposed to be more occupied by "mood" which is okay with me. This is the only film I've seen where Melanie Griffith gives a more than tolerable performance, and Nick Nolte is excellent as your grim, conflicted noir hero guy. Not nearly as emotionally wrenching or as well-written as CHINATOWN, and nowhere near the interesting, subtle and exciting LA CONFIDENTIAL, this is still a classy movie worth watching. The 1940s setting is almost too perfect, and oh my, what a car! Chazz Palminteri is excellent, despite the writers not giving us enough depth. The rest of the supporting cast is superb. A mellow murder mystery making for a great late-night watch, in the tradition of the film noir. Cheers.

A Cops vs. Federal Government story of murder

Format: Color
Not for sale to persons under age 18.
Studio: Mgm/Ua Studios
Video Release Date: June 23, 1998

Cast:

Nick Nolte ... Max Hoover
Melanie Griffith ... Katherine Hoover
Chazz Palminteri ... Elleroy Coolidge
Michael Madsen ... Eddie Hall
Chris Penn ... Arthur Relyea
Treat Williams ... Colonel Nathan Fitzgerald
Jennifer Connelly ... Allison Pond
Daniel Baldwin ... McCafferty
Andrew McCarthy ... Jimmy Fields
John Malkovich ... General Thomas Timms

Kyle Chandler ... Captain
Ed Lauter ... Earl
Larry Garrison ... Perino's Maitre d'
Chelsea Harrington ... Lolita
Johnna Johnson ... Bar Woman
Rick Johnson ... Staff Car Sergeant
Britt Burr ... Staff Car Driver
Melinda Clarke ... Cigarette Girl
Ernie Lively ... Foreman
Richard Sylbert ... Coroner
Michael Krawic ... Assistant Coroner
Titus Welliver ... Kenny Kamins
Robert Peters ... Cop #1
Father William M. Thigpen ... Priest
Drew Pillsbury ... Chief's Assistant
Brad Hunt ... Guard
Aaron Neville ... Nite Spot Singer
Buddy Joe Hooker ... DC-3 Pilot
Eddie Caicedo ... Gasping Patient
Price Carson ... Honor Guard
Azalea Davila ... Perino's Girl
Sky Solari ... Perino's Girl
Alisa Christensen ... Spaghetti Girl
Bruce Dern ... The Chief
Rob Lowe ... Hoodlum
Johnny Martin ... Mafia Hitman
William L. Petersen ... Jack, Mafia Mobster
Sharmagne Leland-St. John ... Woman in Night Club
Louise Fletcher ... Esther

Max Hoover (Nick Nolte) is the head of a special police squad that is given carte blanche when it come to methods of running bad guys out of L.A., including throwing them off cliffs; hence the title: as one of the bad guys observed, "There are no falls on Mulholland Drive," Until of course, he discovers them as he falls down the cliff.

The instant crime which the story centers around is the death of a young woman, whose body, it turns out, is discovered to be radioactive, and was a paramour of General Thomas Timms (John Malkovich), who is in command of an Atomic Energy Commission base. The AEC and the FBI, on the one hand, and the LAPD on the other, head for an inevitable jurisdictional clash, in spades.

I will not divulge further details of the plot, except to say that it is rated "R" for language and violence--deservedly.

But, unlike several other reviewers, I found the film interesting and am watching it for the second or third time.

Perhaps not a "great" film, but certainly entertaining within its genre, and well acted and directed.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

Mulholland...FALLS--Oh, NOW I get it!
Let's get to the good stuff about this movie before the real fun of dissecting it. For Nick Nolte fans, you'll enjoy it because he's good in it and cuts a swaggering figure in a fedora. For Jennifer Connally fans, this is a must have (you naughty boys) and you'll want to keep your finger hovering over the pause button. In the meantime, you'll be cursing the director for editing the heck out of that really good 8mm B&W movie starring the impressive Miss Connally and spending most of the film on something about radiation and men with hats in a shiny Buick. Even though this impenetrable storyline features the additional treat of one of the Baldwin brothers (Adam? Stephen??) getting the crap beat out of him, I still found it lacking since the complete footage of Miss Connally's kinky films were never found and fully displayed to their archival stature. Talk about an extra for your DVD edition!

Now for the bad stuff. The film tries for atmosphere, but only occasionally succeeds. The shot out at the A-bomb crater is impressive, but on the whole, the movie spends too long doing too little. Of the cast, only Nolte is given enough meat to excel. This is a strong cast, but with the exception of Nolte, they have little to do. Melanie Griffith looks fresh off collagen injections to enlarge her upper lip, sadly ruining her beautiful face. Lord help me, but I kept expecting her to go "quack!" Why is it some gorgeous women keep obsessing about their bodies-tattooes, piercing, injections, etc.? They are like masterpieces that continue to have work done to them and hence ruin their natural beauty (ahem, end soliloquy). And miscasting reaches new heights with uber-quirky John Malkovich as an Army General! Apparently they offered him the part in the B&W porno flick and he was theirs for whatever role nobody else wanted.

Well, I don't want to give away the ending, but for me , the whole movie FELL FLAT. My interest PLUMMETED in the climactic scene. So don't feel you should DROP EVERYTHING to go out and rent this movie.

entertaining
with a early 1950's flair, this los angeles police drama and suspense movie is no oscar winner, however a saturday afternoon a the movies would be good.
also after seeing the cast;

nick nolte
chazz palmenteri
bruce dern
kyle chandler
treat williams
william petersen
rob lowe

they could have had more of a movie, such as l.a.confidential
than this mess.

i liked it, up to a certain point.

Modern Film Noir... a classic!
This movie is NOT on the level of Chinatown, LA Confidential or some of the genuine film noir made in the late 40s.... however... if you enjoyed them, you will enjoy this one, and I give it 5 stars for the atmosphere, music, style, costumes, and story so typical of those other great films. ESPECIALLY interesting is Jennifer's portrayal of a "Black Dahlia" type character, pale blue eyes and all.... and Treat Williams role as a military thug, which he plays beautifully. The score by Dave Grusin is absolutely gorgeous and brings the perfectly beautiful shots of period Los Angeles and matching sets to life. Cinematography and sound is first rate. I can hardly wait to own this on DVD. ... Read more

Reviews (473)

Die Another Day
The title of Bond's twentieth foray onto the screen comes not from Ian Fleming but rather from the last line of a Houseman poem.Lee Tamahori directs the hero through the usual paces but by now the franchise seems a little dated. Sure there is a lot of action here but the film is a little weak (read farfetched) when it comes to plot.

In this film Bond must save the world from a mad North Korean colonial who has perfected what is essentially a death ray. The colonial wants to use his death beam in order to move into South Korea and then into the west.

All the usual Bond special features are here. We have car chase on ice, exotic locales, beautiful women but something feels like its missing. Halle Berry tries hard in this movie as NSA agent Jinx but she remains little more than eye candy. If there is a Bond girl to watch in this outing it is Rosamund Pike who plays double agent Miranda Pike.

The real treat here is the two DVD set by Universal which offers two commentaries, a trivia track, a great documentary, photo galleries and Madonna's video of the title song.

All in all not one of the best Bond movies but certainly worth its two hour running time.

Die Another Day- So you'll live to die another day.
Die Another Day, the 20th Bond installment is for the most part entertaining. The best Bond film yet, well I'm not sure. Featuring a great cast including Halle Berry, Rick Yune, Toby Stephens, Rosamund Pike, Judi Dench and John Cleese as well as Diretor Lee Tamahori (Along Came A Spider, The Edge).
Pierce Brosnan reprises his role as the secret agent James Bond 007, which he still aces. Bond is trouble when he learns he's been betrayed, soon he embarks on a craz North Korean (Rick Yune) who has an accomplice, our villan Gustav Graves (Toby Stephens). Graves has a sophisticated weapon, a laser satellite and wants complete dominance over the world. The movie's plot isn't totally original or intelligent but it still works. Bond is on the trail with an assitant, our new, gorgeous Bond girl Halle Berry playing an NSA agent named Jinx. The film features a few remarkable sets and locations including a set consisting of ice. The gadgets aren't too amazing, mainly the car, the Aston Martin Vanquish with a unique invisibility mechanism. Gadget guru John Cleese and Judi Dench as "M" sparkle.
Die Another Day is rated PG-13 for Action Violence and Sexuality. The film is abundant in terms of violence, including gunplay, swordplay, a hovercraft and car chase and fistfights. There is also a decent amount of sexual innuendo, and non-explicit sexual situations but rather steamy and erotic. Worth seeing, I saw it in theatres and was glad I did and now own it on DVD. DVD has a lot of features and is a two-disc set. Purchase or atleast rent.

bond ,james bond
i love all james bond movies and this is a good action movie adventure and i love pierce brosnan then i am waiting bond 21 this movie is great

STILL LIFE IN BONDAGE
Who would have dreamed in 1963 that Dr. No would be the first of twenty James Bond films? There have been some misses in those 20 films (Moonraker, Octopussy, to name two), but overall the series has aged quite well, and moves into the 21st century quite adroitly.
While ON HER MAJESTY'S SECRET SERVICE remains my favorite Bond film, Pierce Brosnan has done well in his Bond role. He's dashing but vulnerable, and he is a good actor. He's joined in this technological brouhaha by the talented Halle Berry. While this is certainly not Halle's best performance, she shows the versatility and dedication that eventually led to her Oscar win in MONSTER'S BALL. She's a beautiful woman and she holds her own in the fight game too! Rosamund Pike is delightful as Ms. Frost, the double agent who battles Halle in the climax. Toby Stephens does a good job as Graves, but he's not the most memorable of the Bond villains. The action sequences and effects are stunning, except for the obvious blue screen used when Bond escapes from the supercar. And the laser in the sky threat has been used twice before in Bond movies: You Only Live Twice and Diamonds Are Forever. John Cleese is cool as Q; Madonna is silly in her cameo, and DIE ANOTHER DAY is one of the worst themes of any Bond movie. No one will ever replace John Barry as the master of the Bond themes. And it wouldn't hurt to see Judi Dench soften a little in her role as M. Nice touch in having B movie actor Michael Masden as the American NSA chief.
All in all, a worthy entry in the Bond series; if Brosnan and crew can keep up this kind of pace, we may see Bond hit 50!!!

Dreadful
Ridiculous effects, ridiculous story, ridiculous dialogue... And Halle Berry can't act to save her life. The fact that the producers wanted to make a spin-off series with her prove they don't know what they're doing! When the studio execs (the ones who axed the Jinx/Halle Berry movie) are the ones with taste and commons sense you know you're in trouble! ... Read more

Reviews (133)

Disappointment if you were really into the book
If you were a HUGE fan of this book by James Patterson, then keep in mind this is merely based off the book. There are parts that are left out of the movie that could've otherwise been included. The story is the same but other things could've been differentiated.

Matt Whittman plays Gary Soneji, a kidnapper at a private school who kidnaps the senator's daughter. Morgan Freeman plays Detective Alex Cross on his trail. Monica Potter plays Jezzie Flanagan, Cross' alias in getting Soneji.

I guess the first annoyance of this movie is that its only "based" off the book. So a lot is changed around. The beginning starts off with Cross' partner (and it isn't Sampson for those of you who read the book) in a car with a killer and eventually action comes into play and she's soon killed off merely 5 minutes into the movie (not including the opening credits). There's the attention grabber...unfortunately the movie can only go downhill from there.

Gary Soneji is very out of character. This isn't bad for those who haven't read the book. But the movie fails to show depth to Soneji's character. This isn't just Soneji but Alex Cross as well. The characters in the movie feel wooden at times. The dialogue is pretty corny at times so likewise most characters feel the same.

The other part that annoys me is in the book they constantly told you that Gary Soneji wanted to commit the crime of the century. In the movie there is no motivation whatsoever so you wonder "What is Soneji's motive?" "Why is he doing this?" Believe me you'll learn that it isn't for money.

The plot twist wasn't done too well either. We're supposed to believe that the senator's daughter was kidnapped from the boat Soneji imprisoned her on when we NEVER see it happen! You wonder how she got to her new location near the end of the movie.

Lastly, the ending. With a few exceptions its easy to say the ending is usually changed for the worst and in this movie IT WAS FOR THE WORST! Alex finds the girl and then it just...ends. No falling action or resolution it just ends.

If you really loved the book the movie will more than likely disappoint you. If you didn't read the book the movie has a "Love/Hate" relationship. I'm sure that if you haven't read the book you could pull the movie apart.

A good film but an even better novel
Glossy thriller doesn't measure up to James Patterson's excellent novel but does have great work by Morgan Freeman and enough action and suspense to make for a good film. Alex Cross is on the trail of psychopath Gary Soneji who has kidnapped a young girl from school and murders a schoolteacher for good measure. Monica Potter seems self-conscious and stiff and doesn't breathe enough life into Jezzie Flannigan's character. Penelope Ann Miller is fine as the distraught mother of the missing girl and Mika Boorem is heroic and resourceful as the kidnapped Megan. The film's opening sequence of a helicopter surveillance of Soneji with Cross' female partner in harm's way provides one of the movie's best moments. Jerry Goldsmith's music score is moody and understated and is a great asset to the movie.

Alex Cross returns
If you are real generous and forgive some major leaps of logic, than "Along Cane A Spider" is a pretty good little thriller. Detective Alex Cross(played by the ever reliable Morgan Freeman) is brought in on a high profile kidnapping case patterned after the Charles Linbergh baby kidnapping. Gary Sonji is a very worthy advacary indeed. With out giving too much away, there is a lot more to it than that. Director Lee Tamahori dose a lot to give the movie a slick style, and that works well, in a "Miami Vice" kind of way. As said before, Morgan Freeman gives a very good performance, though I have a few comments on his Alex Cross. The Alex Cross character is based on James Patterson's novels, and that version of Cross is much younger (in fact I picture Denzel Washington or Wesley Snipes), also with a son and daughter. Also his personal life usually gets a lot of attention (though I liked the movie's decision to not concentrate on his family.) Another complaint is that, yes, Cross is very smart; but to make some of the connections he made to figure out what was going on, he has to be psychic. That seems a little silly. Monica Potter's Jezzie Flenagan was alright, not a lot of depth to her (in the book, she was Cross's lover; that was another change I was happy about). Michael Wincott is the cold blooded Gary Sonji, changed a lot from the book, and not a good change. I liked him a lot, but there really wasn't a lot to go on while trying to figure out what makes him tick. The little girl, Mika Boorem, dose a good job, at least she didn't cry all the time which always gets on my nerves. But on the other hand, she seemed a little too smart and resourceful to be only 10 years old. All in all, it isn't bad, just a little too contrived for my taste.

Kidnapping with a Surprise Ending
The daughter of Senator Rose is kidnapped by her "teacher"; another teacher is killed. This crazy killer hides young Megan Rose, and calls Dr. Cross, a profiler. (How did this "teacher" pass his background checks?) The problem is to recover Megan Rose unhurt by solving this crime. The Secret Service agent who failed to protect Megan Rose partners with this profiler whose previous partner was killed on the job (an omen?).

Dr. Cross discovers a clue hidden away in a digital photograph. (This crime is modeled after the Lindbergh kidnapping.) Megan Rose tries to escape, the man who tries to help her is killed by kidnapper Songee. There is an attempt to meet another student that goes awry, almost trapping Songee! The police seem to be closing in. Songee calls for $10 million in untraceable diamonds, but this call can't be traced. (Have they no Caller ID?) A series of phone calls leads Dr. Cross to the transit system to deliver the ransom. While this pair discuss the case, Songee invades their house to question them! (Believable?) This mistake leads to Songee's death. But Songee never got the ransom! Is there another criminal involved? The brains behind this plot is a killer! Now Megan Rose knows too much, and must be silenced. But Dr. Cross arrives to stop the killer and save Megan Rose.

This is an entertaining story with plot twists; but the final ending seems incredible to me.

Convoluted Plot
It seems as though I am in the minority with this film. I enjoyed the plot twists, though you had to follow them carefully. If you were watching you could, in theory, figure out who the bad guys are, though you really do not have all the facts to truly figure out every detail, somewhat like a Sherlock Holmes story.

Our story focuses on one Gary Soneji (Michael Wincott), who has carefully planned to kidnap the daughter of U.S. Senator Hank Rose, unconvincingly played by Michael Moriarty. The point of the kidnapping is not to kidnap Megan (Mika Boreem), but to get access to a foreign diplomat's son, who is good friends with Megan. Mr. Soneji is, as might be guessed, a bit of a wacko. He wants Dr. Alex Cross (Morgan Freeman), a famous profiler, to chronicle the battle of wits between them. Ultimately there is a showdown between the two of them, but the showdown does not reveal the location of Megan.

The plot twists and thickens more, and yet, there were clues in several places, I thought. I was quite puzzled when the security guards went running out the front of the school instead of just closing the gates. Further, I thought someone would have at least tried to grab a car to follow the kidnapper. Later, Jezzie Flanagan (Monica Potter) has a chance to shoot the kidnapper and does not, though she seemed to have a chance to wound him. All these little tidbits hint at the convolutions within the plot that are revealed only near the end of the movie.

The convolutions did entertain me, and I got much more enjoyment out of trying to figure out the plot than with gunshots and car chases. However, I prefer "Murder, She Wrote," "Columbo," and "Sherlock Holmes" to movies with nearly all action and no intelligence in their plot. When you watch this movie, you do have to pay attention or you will lose direction, and you will see more plot holes than there actually are. I thought nearly everything was explained as the movie progressed, and the only plot holes were mistakes by those involved in the kidnapping of Megan.

There were four standout actors in this film. Morgan Freeman is excellent, as usual, as Alex Cross. Michael Wincott is quite convincing as the marginally sane Gary Soneji. Monica Potter brings a good balance of strength and vulnerability to her role as Secret Service Agent Jezzie Flanagan. The real surprise performance is by Mika Boreem as Megan Rose. Megan tries very hard to get away throughout the movie, and uses her head continuously, incidentally saving her own life. Mika's performance is better than many of the adult actors in this film, and bodes well for a future career in acting.

It could just be that I'm getting older, and car chases and flying bullets just are not as enjoyable as they once were. Or it could be that I just liked the intellectual challenge of unraveling the threads of the complicated plot. In any case, this movie is clearly not for everyone, but I would love to watch it again. ... Read more

Reviews (473)

Die Another Day
The title of Bond's twentieth foray onto the screen comes not from Ian Fleming but rather from the last line of a Houseman poem.Lee Tamahori directs the hero through the usual paces but by now the franchise seems a little dated. Sure there is a lot of action here but the film is a little weak (read farfetched) when it comes to plot.

In this film Bond must save the world from a mad North Korean colonial who has perfected what is essentially a death ray. The colonial wants to use his death beam in order to move into South Korea and then into the west.

All the usual Bond special features are here. We have car chase on ice, exotic locales, beautiful women but something feels like its missing. Halle Berry tries hard in this movie as NSA agent Jinx but she remains little more than eye candy. If there is a Bond girl to watch in this outing it is Rosamund Pike who plays double agent Miranda Pike.

The real treat here is the two DVD set by Universal which offers two commentaries, a trivia track, a great documentary, photo galleries and Madonna's video of the title song.

All in all not one of the best Bond movies but certainly worth its two hour running time.

Die Another Day- So you'll live to die another day.
Die Another Day, the 20th Bond installment is for the most part entertaining. The best Bond film yet, well I'm not sure. Featuring a great cast including Halle Berry, Rick Yune, Toby Stephens, Rosamund Pike, Judi Dench and John Cleese as well as Diretor Lee Tamahori (Along Came A Spider, The Edge).
Pierce Brosnan reprises his role as the secret agent James Bond 007, which he still aces. Bond is trouble when he learns he's been betrayed, soon he embarks on a craz North Korean (Rick Yune) who has an accomplice, our villan Gustav Graves (Toby Stephens). Graves has a sophisticated weapon, a laser satellite and wants complete dominance over the world. The movie's plot isn't totally original or intelligent but it still works. Bond is on the trail with an assitant, our new, gorgeous Bond girl Halle Berry playing an NSA agent named Jinx. The film features a few remarkable sets and locations including a set consisting of ice. The gadgets aren't too amazing, mainly the car, the Aston Martin Vanquish with a unique invisibility mechanism. Gadget guru John Cleese and Judi Dench as "M" sparkle.
Die Another Day is rated PG-13 for Action Violence and Sexuality. The film is abundant in terms of violence, including gunplay, swordplay, a hovercraft and car chase and fistfights. There is also a decent amount of sexual innuendo, and non-explicit sexual situations but rather steamy and erotic. Worth seeing, I saw it in theatres and was glad I did and now own it on DVD. DVD has a lot of features and is a two-disc set. Purchase or atleast rent.

bond ,james bond
i love all james bond movies and this is a good action movie adventure and i love pierce brosnan then i am waiting bond 21 this movie is great

STILL LIFE IN BONDAGE
Who would have dreamed in 1963 that Dr. No would be the first of twenty James Bond films? There have been some misses in those 20 films (Moonraker, Octopussy, to name two), but overall the series has aged quite well, and moves into the 21st century quite adroitly.
While ON HER MAJESTY'S SECRET SERVICE remains my favorite Bond film, Pierce Brosnan has done well in his Bond role. He's dashing but vulnerable, and he is a good actor. He's joined in this technological brouhaha by the talented Halle Berry. While this is certainly not Halle's best performance, she shows the versatility and dedication that eventually led to her Oscar win in MONSTER'S BALL. She's a beautiful woman and she holds her own in the fight game too! Rosamund Pike is delightful as Ms. Frost, the double agent who battles Halle in the climax. Toby Stephens does a good job as Graves, but he's not the most memorable of the Bond villains. The action sequences and effects are stunning, except for the obvious blue screen used when Bond escapes from the supercar. And the laser in the sky threat has been used twice before in Bond movies: You Only Live Twice and Diamonds Are Forever. John Cleese is cool as Q; Madonna is silly in her cameo, and DIE ANOTHER DAY is one of the worst themes of any Bond movie. No one will ever replace John Barry as the master of the Bond themes. And it wouldn't hurt to see Judi Dench soften a little in her role as M. Nice touch in having B movie actor Michael Masden as the American NSA chief.
All in all, a worthy entry in the Bond series; if Brosnan and crew can keep up this kind of pace, we may see Bond hit 50!!!

Dreadful
Ridiculous effects, ridiculous story, ridiculous dialogue... And Halle Berry can't act to save her life. The fact that the producers wanted to make a spin-off series with her prove they don't know what they're doing! When the studio execs (the ones who axed the Jinx/Halle Berry movie) are the ones with taste and commons sense you know you're in trouble! ... Read more

Reviews (99)

The Clashing of Cultures Brings Ruin
ONCE WERE WARRIORS is a gem of a movie that received little play in the United States. And that is a shame since this film is one of the most brutal and unforgettable exposes of the disintegration of a native culture after debilitating contact with a colonially suffocating one. Director Lee Tomahori presents a poverty-stricken subculture of the Maori tribe in New Zealand, one in which the dissolution of the formerly strong tribal bonds and rituals becomes increasingly evident in each scene. Part of the appeal of this movie is that the theme of cultural sabotage is often repeated in many cultures--and not just in third world cultures that accept Burger King rather than their own gods as a worthy pantheon.

Temuera Morrison is Jake, a brute of a husband who finds that his place in society has been undercut by a Western civilization that seems bent on putting Guess jeans on all the natives. Jake finds it difficult to hold a job so he spends his days drinking in pubs with his mates. He brawls, he drinks, he abuses his long suffering wife Beth (Rena Owen) whenever his self-esteem dips below a critical level. Beth tries hard to maintain some semblance of normalcy, but with one son in prison, another seeking to join a gang, and a teenage daughter trying to face the issues of her own burgeoning sexuality in a male-dominant society, she finds this job impossible. She loves Jake, but she hates what he has become, and there is no easy solution.

Nearly all the major characters are blighted in some way by their inability to adjust to their newer and low-class status in a Western culture than relegates their own to disrepute. Much of the film is filled with the raw violence of bar room brawls, ugly scenes of domestic abuse, and rape. All of this violence serves to underscore the need of a disenfranchised people to look within themselves to find the pride and respect that once marked them as warriors. Most fail, but the few who do not suggest that the recovery of basic human decency transcends cultures and borders so that any who see this marvelous movie can take heart that brutes like Jake are dinosaurs, eventually to be replaced by adaptable survivors like Beth. The closing scene of Beth's son,now fully engaged in his gang's ritualistic dance of discipline, punctuates this most basic of human desires.

Superb acting and a point well made
It isn't hard to see why this movie garnered so many kudos after its release. The acting is superb. (Note: Temeura Morrison later stated that he was "scarred" for quite a while emotionally and mentally after playing Jake.) The unexcelled acting in AND the directing of this film, in this viewer's opinion, show the exact nature of family violence more clearly than other presentation in any media ever has. At first I was unwilling to see another film dealing with the subject, especially since I the results of domestic violence almost daily on my job. Now I say that if you watch only one film on the matter in your life, make it this one. For an American viewer, the fact that all the action takes place in Auckland, New Zealand helps give the distance needed for an honest perspective on the theme. Then the highly skilled actors (may we see more of all of them!)play the story out as it happens to thousands of families all over the world, totally stripping domestic violence of any excuse to be. By the heart-rending and horrific end of the movie there can be no doubt in anyone's mind that neither substance abuse, cultural conditioning, disenfranchised cultures, poverty nor a host of other things often invoked as "reasons" justify turning one's household into a war zone. Most family violence perpetrators are not hardcore psychopaths; they are "Jakes", and they have no excuse for what they do to their families. A beautiful film that makes its point without resulting to melodrama and sensationalism. It's a credit to all involved with the production that we look in on the lives of one family in crisis and realize, knowing that this scene is repeated thousands of time daily worldwide, the ultimate devastation brought about by "routine" family violence. A brilliant presentation. A "must see."

Film Of The Century!
Without discussing the content of this film, suffice it to say that the acting is absolutely phenomenal! The male and female leads are enormously talented!It's real ,it's raw, and I think that is the best example of acting that I have ever seen

Just sucks you in...
... and won't let you go. Really amazing story with people you really care for.

The best film of 1994
ONCE WERE WARRIORS is one of the most powerful films I have ever seen. Released at a time when NZ films weren't widely accepted, yet when audiences saw it ... they changed their minds. This was the most talked about film in Australia in 1994. It's one of those rare movies that made me cry.

Incredible performances from both male and female leads which contribute to the powerfulness of this film. The sequel from 1998 called "What Becomes of the Broken Hearted" is worth seeing, but not a patch on ONCE WERE WARRIORS.

Buy it, rent it, or whatever ... just get yourself a copy. You must have this DVD in your collection. ... Read more

Reviews (99)

The Clashing of Cultures Brings Ruin
ONCE WERE WARRIORS is a gem of a movie that received little play in the United States. And that is a shame since this film is one of the most brutal and unforgettable exposes of the disintegration of a native culture after debilitating contact with a colonially suffocating one. Director Lee Tomahori presents a poverty-stricken subculture of the Maori tribe in New Zealand, one in which the dissolution of the formerly strong tribal bonds and rituals becomes increasingly evident in each scene. Part of the appeal of this movie is that the theme of cultural sabotage is often repeated in many cultures--and not just in third world cultures that accept Burger King rather than their own gods as a worthy pantheon.

Temuera Morrison is Jake, a brute of a husband who finds that his place in society has been undercut by a Western civilization that seems bent on putting Guess jeans on all the natives. Jake finds it difficult to hold a job so he spends his days drinking in pubs with his mates. He brawls, he drinks, he abuses his long suffering wife Beth (Rena Owen) whenever his self-esteem dips below a critical level. Beth tries hard to maintain some semblance of normalcy, but with one son in prison, another seeking to join a gang, and a teenage daughter trying to face the issues of her own burgeoning sexuality in a male-dominant society, she finds this job impossible. She loves Jake, but she hates what he has become, and there is no easy solution.

Nearly all the major characters are blighted in some way by their inability to adjust to their newer and low-class status in a Western culture than relegates their own to disrepute. Much of the film is filled with the raw violence of bar room brawls, ugly scenes of domestic abuse, and rape. All of this violence serves to underscore the need of a disenfranchised people to look within themselves to find the pride and respect that once marked them as warriors. Most fail, but the few who do not suggest that the recovery of basic human decency transcends cultures and borders so that any who see this marvelous movie can take heart that brutes like Jake are dinosaurs, eventually to be replaced by adaptable survivors like Beth. The closing scene of Beth's son,now fully engaged in his gang's ritualistic dance of discipline, punctuates this most basic of human desires.

Superb acting and a point well made
It isn't hard to see why this movie garnered so many kudos after its release. The acting is superb. (Note: Temeura Morrison later stated that he was "scarred" for quite a while emotionally and mentally after playing Jake.) The unexcelled acting in AND the directing of this film, in this viewer's opinion, show the exact nature of family violence more clearly than other presentation in any media ever has. At first I was unwilling to see another film dealing with the subject, especially since I the results of domestic violence almost daily on my job. Now I say that if you watch only one film on the matter in your life, make it this one. For an American viewer, the fact that all the action takes place in Auckland, New Zealand helps give the distance needed for an honest perspective on the theme. Then the highly skilled actors (may we see more of all of them!)play the story out as it happens to thousands of families all over the world, totally stripping domestic violence of any excuse to be. By the heart-rending and horrific end of the movie there can be no doubt in anyone's mind that neither substance abuse, cultural conditioning, disenfranchised cultures, poverty nor a host of other things often invoked as "reasons" justify turning one's household into a war zone. Most family violence perpetrators are not hardcore psychopaths; they are "Jakes", and they have no excuse for what they do to their families. A beautiful film that makes its point without resulting to melodrama and sensationalism. It's a credit to all involved with the production that we look in on the lives of one family in crisis and realize, knowing that this scene is repeated thousands of time daily worldwide, the ultimate devastation brought about by "routine" family violence. A brilliant presentation. A "must see."

Film Of The Century!
Without discussing the content of this film, suffice it to say that the acting is absolutely phenomenal! The male and female leads are enormously talented!It's real ,it's raw, and I think that is the best example of acting that I have ever seen

Just sucks you in...
... and won't let you go. Really amazing story with people you really care for.

The best film of 1994
ONCE WERE WARRIORS is one of the most powerful films I have ever seen. Released at a time when NZ films weren't widely accepted, yet when audiences saw it ... they changed their minds. This was the most talked about film in Australia in 1994. It's one of those rare movies that made me cry.

Incredible performances from both male and female leads which contribute to the powerfulness of this film. The sequel from 1998 called "What Becomes of the Broken Hearted" is worth seeing, but not a patch on ONCE WERE WARRIORS.

Buy it, rent it, or whatever ... just get yourself a copy. You must have this DVD in your collection. ... Read more

Amazon.com

The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home, chronicling a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there's the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood. The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his midlevel capo's machismo, yet instantly recognizable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers, and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.

Alternately seductive, exasperated, fearful, and murderous, James Gandolfini's Tony is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr. Melfi, a convincing confidante, by turns "professional," perceptive, and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what's not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings.

In its second season, The Sopranos repeatedly defies formula to let the narrative turn as a direct consequence of the characters' behavior, letting everyone in this rogue's gallery of Mafiosi, friends, and family evolve and deepen. That gamble is most apparent in the rupture of the relationship that formed the spine of the first season, the tangled ties between Tony and Livia, whose betrayal makes Tony's estrangement a logical response. Filling that vacuum, however, is prodigal sister Janice (Aida Turturro), whose New Age flakiness never successfully conceals her underlying calculation and opportunism. Soprano's relationship with therapist Melfi also frays during early episodes, as she struggles with escalating doubts about her mobbed-up patient. At home, Tony contends with wife Carmela's ruthless ambitions on behalf of college-bound Meadow (Jamie Lynn Sigler), as well as son Anthony Jr.'s (Robert Iler) sullen adolescent flirtation with existentialism--the sort of touch that the show handles with a smart mix of sympathy and amusement. --Sam Sutherland ... Read more

Reviews (3)

BADA BING...BADA BOOM...
My son is a big Sopranos fan, so I bought him the DVD set for the first season for Christmas. I myself had seen maybe two or three episodes on cable and had enjoyed them. So, when he began watching, I was right there watching with him. What a terrific show! It is absolutely gripping.

It is a marvelously creative series with a stellar cast. For those of you who have been visiting relatives in Antarctica for the past several years, the story revolves around the mob in New Jersey. It centers on one family specifically, the Sopranos, headed by Anthony Soprano (James Gandolfini), who is married to his loyal childhood sweetheart, Carmela (Edie DeFalco). Together they have two children, Meadow and Anthony, Jr. Tony's dangerously manipulative mother, Livia (Nancy Marchand), is bound for a retirement home, if Tony has any say.

Tony, however, has another family, comprised of a bunch of murderous henchmen, who occasionally march to the tune of a different drummer. He also has a Russian mistress. Trying to balance all this has given Tony panic attacks, so he goes to a psychiatrist, Dr. Melfi (Lorraine Bracco), whose relationship with her client alternates between fear and fascination.

The writing for this series is splendid and the interweaving of comedic and familial moments with the darker, more violent ones provides the viewer with an intelligently woven plot. James Gandolfini is outstanding as Tony Soprano, a powerful mob boss, who can also be a teddy bear of a guy and a good friend, unless you are perceived to have been disloyal. Then, you may kiss your buns goodbye. Tony is mercurial, sexy, fearful, cautious, and, given the right circumstances, deadly. He is a fascinating and beguiling character. Edie DeFalco is warm, funny, loyal, and the glue that binds their immediate family together. Yet, she too has her own sting, and she knows the power that her husband has. She is not above using it herself, if necessary. The late Nancy Marchand was terrific as Livia, the manipulative, scheming mother.

While the first season was sensational, all I can tell you is that the second season is as good, if not better, than the first.

There are some major plot developments. Livia and Tony's uncle hatch a plan that can have murderous consequences for Tony. Carmela is doing all in her power, and I mean all, to help Meadow get into a good college. In her own sweet way, Carmela can be just as scary as Tony. Janice (Aida Turturro), Tony's sister, comes back home, wreaks havoc, marries the former mob boss's jailbird brother, and then leaves town with a bang. One of Tony's best friends becomes a snitch for the Feds. No wonder Tony continues to have anxiety attacks and still needs to see his psychiatrist, Dr. Melfi.

The writing continues to be intelligent, and the story lines are as well thought out and engrossing as ever. I absolutely love this series!

The first and second seasons DVD sets each come nicely packaged with four discs. The nice thing about the DVDs is that before an episode begins, if one likes. one may read a plot summary of that episode. The visuals and audio are crisp and clear. There are also some bonus features. There is a terrific interview with David Chase, the creator of the Sopranos, and some behind the scenes featurettes. All in all, this is a great show, and these are two great DVD sets to add to one's personal collection. I have already seen the first, second, and third seasons. I now can't wait for the fourth season to come out on DVD.

Best show ever!!
I hardly ever watch TV except for sports. But I was recommended to watch this by a friend and let me tell you, if you like goodfellas and shows like that then you will love this. The first season is the best without a doubt. The second season you really get into and then the third season starts off slow but the end is really great. This is by far the best TV series I have ever seen, even better than the simpsons(entertainment value wise). I tell you what, I can't wait for the fourth season to come out because I will get it right away.

the sopranos best seasons
by far the first and second seasons of the sopranos were the best and now there on dvd, nothing could be better. ... Read more