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A misfit drama in the grand Southern (by way of Hollywood) tradition, A Love Song for Bobby Long takes its cue from Carson McCullers's The Heart Is a Lonely Hunter. Re-establishing his indie-cred, John Travolta adds Bobby Long to his gallery of colorful characters. Hobbled by an infected toe, the 50-something Bobby is a white-haired, unshaven, vodka-soaked mess. But he’s also a former English professor, and the piles of books in his ramshackle house, and the authors he drunkenly quotes give him a wounded dignity. Just how wounded will be revealed over the course of this atmospheric tale of redemption and penance. Bobby lives with Lawson Pines (Gabriel Macht), his former teaching assistant who is writing a book about his mentor, a project deferred by drinking, sitting around with the locals, or engaging in quotation oneupsmanship. Scarlett Johansson (Lost in Translation, Ghost World) holds her own against Travolta ("You are such a shameless ham," she chastises the loquacious Bobby) as Pursy, the estranged daughter of Lorraine, a recently deceased singer-songwriter in whose house Bobby and Lawson reside. A battle of wills between the two men and the headstrong young girl gives way to the formation of a tentative family unit. Pursy agrees to return to high school if Bobby and Lawson quit drinking. There will be the expected revelations, recriminations, and dramatic confrontations, but what makes this Love Songresonate are the performances by a cast that rarely hits a false note. --Donald Liebenson ... Read more

Reviews (26)

Travolta is GREAT!
Although not a Travolta fan, I have always enjoyed his performances. But this, this is his best. What a fine actor he has become. I used to suspect that much of his popularity was based on his appearance, but now that he is older and heavierhis acting really shows.Sometimes in just the twich of a facial muscle or a shrug of his shoulders. He actually seems to BE the character he is protraying.//Many will find the movie slow and some of the plot predictable, but focus on the relevation of the characters and the quality of acting and you will not be disappointed.

Incredible film...Scarlett is a great actress of our time
Genre: Drama

Genre Grade: A

Final Grade: A

If Hilary Swank had not won the Golden Globe for Million Dollar Baby, Scarlett Johannson should have walked away a winner. And the Academy Awards should be ashamed that they didn't nominate her. This is her best performance she's ever given (though her role in Lost in Translation is an all-around favorite). This movie should prove what kind of talent she has to anyone who had doubts.

Outside of Scarlett's wonderful acting, this movie was great. Don't be confused by the title - it is not a story about John Travolta falling in love or anything of the sorts. Their isn't even much romance in the story. The real love song that plays within the movie is that of the relationships built between the characters and in the somewhat predictable ending. This is a movie about a girl named after a weed going back to her roots, believing in herself, and in the end, re-discovering herself.

The production value of this film was perfect for it being based in New Orleans. This was also director Shainee Gabel's official first film (he co-directed a movie in 1997). Hopefully he will bring us more great films like this one in the future.

Definitely check this one out - especially if you love beautiful cinematography, Southern scenery, folk music, and famous English poetry.

An Amusing Southern Tale!
John Travolta continues his diversified acting career adapting the role of ousted southern professor, Bobby Long.He is great.The movie can be long at times, but the characters that come and go in this film are memorable.This was the first movie I've seen Scarlett Johansson in and I see a future Oscar winner in the making.She shines in this film with her acting ability.If you enjoy movies in the southern tradition, check this film out.

FYI!Be on the lookout for Sonny Shroyer "Enos" of the Dukes of Hazzard.

A sleeper -- we loved it!
OK, five stars is probably excessive since the plot is ultimately predictable, but it is SO refreshing to find a film shot on a modest budget which soars due to skillful writing.John Travolta does thorough justice to his broken, remorseful, but still literate and charming character, and Scarlett Johanssen is captivating (her acting is good, but her screen presence is just luminous).The project obviously appealed to such major talent because of the intelligent, lyrical screenplay, which quotes heavily from the poetry of Robert Frost, among others.The director did a fantastic job of recreating the stultifying, decayed, claustrophobic atmosphere of the characters' shared home and lives.Like so many good stories, it unfolds gently with many an anecdote and song to advance the narrative, complemented by a wonderful, blues-oriented sound track.The film was a true pleasure to watch and as far as I was concerned it could have been much longer.

Thought-provoking and suprising movie
I only rented the movie because I saw a preview on screens while browsing at Blockbuster.Going to buy it so I can see it again.I thought all the characters were very believable and grew on me as the movie progressed.See it with an open mind and you will enjoy this movie. ... Read more

Reviews (151)

Grand Guinol scathing satire of Hollywood and its oddities
Sadly, the mastermind behind Sunset Boulevard, Billy Wilder has passed on recently, but his genius lives on in this dark comedic indictment of Hollywood and its star system. The film shot William Holden to stardom and he became a major player in the '50s and it also afforded Gloria Swanson her last piece of public honor and she made a dramatic comeback as faded screen star Norma Desmond. Both she and Holden earned Oscar nominations here as did supporting players Erich von Stroheim (Max the butler) and Nancy Olson (as a script reader and love interest of Holden's screenwriter Joe Gillis). The film was nominated for Best Picture and Best Director (Wilder), but unfortunately it lost on all counts.....possibly because Hollywood felt bullied and intimidated by Wilder's not-so-rosy depiction of their little town. Wilder even received death threats during and after filming. Classic dialogue and forever memorable scenes abound (the chimpanzee burial scene is a keeper). This black comedy may seem too morbid and ghoulishly funny for some tastes, but it is one of my absolute favorites........

Dark and Addictive--Melodrama at its best!
Simply put, this is the greatest movie ever. And Gloria Swanson gave the greatest film performance in thie movie. You forget your Bette Davises, your "All About Eve"s, your "Titanic"s, your Katharine Hepburns, your Jack Nicholsons, and your "Citizen Kane"s. This--Hollywood will never produce anything better.

A striking film, visually, emotionally, and in every sense, this is a dark, bitter, darkly comical study of what happens when a faded star (who was a bit out of touch with reality to begin with) clings a little too tightly to her gone days of fame. Gloria Swanson gives a phenomenally powerful, over-the-top performance as Norma Desmond, histrionic ex-silent film star. Bill Holden is fine as the down-and-out screenwriter from Dayton, Ohio, that accidentally gets mixed up with her. Max von Stroheim is magnificently creepy as Norma's devoted butler, and Nancy Olson is heartbreaking as the one innocent with no idea of the trouble that surrounds her.

Every frame is perfectly filmed, every image marverlously conveyed, every line wonderfully spouted. Nothing is wrong or out of place. And practically every line is a classic. Most remember the last line of the film's insane conclusion: Norma, finally completely descended into madness, sweeping dramatically down the grand staircase as cops, reporters, and even Hedda Hopper look on; the music swells to a deafening height, and Norma--with that deranged look in her eyes--breathes, "I'm ready for my closeup..." But the best line of all, and the line that symbolizes everything that stands for the golden days of Hollywood, is spoken when Joe recognizes Norma and makes the mistake of saying, "You used to be big." She eyes him bitterly, raises her chin, looks down her nose at him and cries, "I AM big! It's the PICTURES that got smaller!"

If you have to choose a movie to see one day, and can only choose one, don't let the opportunity go by. See this.

SWANSON SHOULD HAVE WON THE ACADEMY AWARD
Swanson deserved the Academy Award for this picture. The ending shot alone shows this.

A superb film all the way around except for the casting of Nancy Olson. Inexplicably, Olson won a supporting actress nomination from the academy that year, but I fail to see why. Her character gets on my nerves, especially making goo eyes at William Holden. But this is just a little quirk I have.

The film succeeds brilliantly mainly because of Swanson. It has an effecting score, great cinematography and great acting from the principle characters (Olson notwithstanding).

You will not be disappointed with this one!

FULL AND WIDE
While widescreen films date back as early as 1930 (The Bat Whispers), Sunset Boulvard is not a widescreen DVD because Sunset Boulevard is not a widescreen film.

A supreme film: a ltrue andmark in the american cinema.
This movie belongs to the legend from its release. Never before Wilder got down to the deepest regions of the soul, like in this one.
A voice in off (William Holden) will be as introductory device to involve us in this gripping story about the loneliness of an old fashioned actress who lives only in her lost picture images.
In this sense it's worthy to name the only five films which have had a succesful exit about this no mercy theme.
These are: Cries and whispers, The silence and Persona (Ingmar Bergman), The anxiety of Veronica Voss (Rainer Werner Fassbinder) and American Beauty(from Sam Mendes).
The sense of loneliness grows progressively in this old lady, who decided to stop the physical time and create her own reality between the dark clouds of her ancient memories.
An eternal treasure of the american cinema and in my point of view the masterpiece of that film maker giant called Billy Wilder. ... Read more

Reviews (37)

An outstanding courtroom drama
I agree with the other reviewers that Paul Newman gives the best performance of his career in this intense, well-designed film. There are numerous scenes which are shown without a cut, providing the viewers with an uninterrupted examination of the actors' interactions. Some include (without giving away too much): Newman's character (Frank Galvin) in conflict with the judge's actions toward the court proceedings, Newman and Warden preparing for the trial and the circumstances weighing heavily against them.
All the supporting actors are excellent. Among the noteables: James Mason as the powerhouse defense attorney with a malicious underhand, Milo O'Shea as the unsympathetic judge, Jack Warden as Newman's friend, mentor, and seemingly sole supporter, Charlotte Rampling as Newman's girlfriend with a shady side to herself.
There are a few plotholes and moments of overly dramatic "courtroom hysterics" within the film. Overlook them and enjoy an otherwise very strong movie.

The Very Best of Its Genre
Simply put there is no American film of this genre that comes close. Director Lumet darkly captures the naked power and corruption of the American civil trial system. Actors O'Shea (the judge), Mason (the 'prince of darkness' defense counsel) and Charlotte Rampling (whose shock is best left unrevealed) are the epitome of the seedy wheels of what passes for justice and 'love'. Newman, an alcoholic with one last prospect, struggles for redemption against mountainous odds, giving the most honest performance of his career. Warden is Newman's essential wiser alter ego. This film is no less than that rare cimematic device -- the allegory. Each character represents a larger truth -- in addition to Mason, O'Shea, and Rampling, Joe Seneca as a black, ancient (degraded) doctor for the vegetative plaintiff; Catholic archidiocese bishop Ed Binns up to his collar in fraud; a nationally-renowned physician with secret blood on his hands; and a simple honest woman who wanted nothing more than to be a nurse - Lindsay Crouse in a career performance. And there is the superb Mamet writing throughout. This is a courtroom thriller that will nail you to your seat to the very end. And absolutely true to life -- my view, at least, after 20 years as a lawyer. I also teach law and never miss a chance to show this film to my students. An amazing cinematic achievement, disturbing in its implications.

A grand film of triumph over failure
This film is one of the best in Paul Newman's stellar career, and he carries it convincingly with a spare, taut, no-frills performance. His Frank Galvin, an alcoholic has-been attorney with a bleak future is a defeated and pathetic figure, reduced to appearing at funeral homes during visitation hours to hustle business from bereaved family members. Even when long-time friend Mickey Morrissey [Jack Warden] hands Galvin a lucrative case on a silver platter, his star witness disappears to an unknown Caribbean island after having promised to testify against the hospital and Catholic Church for malpractice. Galvin's determination to see the case through is the first step to his recovery from the bottle and self-pity. The comatose woman's sister and brother-in-law who he represents in court have lost confidence in Galvin, he seems overmatched by the glib and polished Ed Concannon [James Mason] who represents the interests of the Church, and he has incurred the wrath of a biased, mean-spirited judge [Milo O'Shea]. To make matters worse, his girlfriend Laura [Charlotte Rampling] is little more than a Trojan horse in the Galvan camp and her true intentions come to light only after Mickey stumbles on the truth quite by chance. The movie was filmed under Boston's gray, overcast skies and has a gloomy forecast for Galvin in his quest for redemption and reward for a man who has been defeated by life but makes one last attempt to get off the deck and regain his self-respect and stature in his profession.

the film lets down the star
THE VERDICT is one of Paul Newman's most celebrated performances. He plays a down-at-the-heels lawyer named Frank Galvin who lucks his way into a big case involving two doctors who have been horribly negligent, sending a young woman into a coma.
Newman wonderfully gets at Galvin's desperation, and how he fights through an alcoholic haze. It's a thoughtfully worked out performance centered around Newman's wonderfully expressive eyes. Sadly, the rest of THE VERDICT could be taught in a Courtroom Movie Cliche 101 class. The lone lawyer vs the big firm (led by James Mason), altered documents, surprise witnesses, shenanigans by the hospital, it's all here. Even though I enjoyed the acting and the Boston atmosphere, I saw a lot of the plot coming.
The cast includes Jack Warden as Newman's only friend, Joe Seneca, Lindsay Crouse, Wesley Addy, and a chilly Charlotte Rampling as a mysterious woman who crosses Newman's path. The commentary by director Sidney Lumet is of the "everybody was great/this is where we shot" variety.

A Monumental Cinematic Treasure
THE VERDICT may date back to 1982, but few courtroom films since then can come close to matching the powerful production in this near perfect film written by David Mamet and directed with tension, grit, and tenderness by Sidney Lumet. Paul Newman's performance as the alcoholic has-been lawyer called upon to try a case of medical malpractice is one of the finest acting performances in history. He is more than ably abetted by his sidekick Jack Warden. The lawyer for the defense is the haughty and evil James Mason and the real surprise in the cast is Milo O'Shea in a terrifyingly real role of a smarmy Judge. Charlotte Rampling, still one of today's finest actresses, plays the understated love interest. Minor roles become major when they are in the hands of such gifted actors as Lindsay Crouse and Julia Bravasso. But one unsung hero of this fine film is the cinematographer who manages to make every shot appear like a Renaissance painting, so sensitive is he to light and shadow and frame composition.

THE VERDICT is a powerful story of the underdog's struggle for truth in the judicial system and as such is a reminder of how the Law, when stripped to its essentials, is there to protect us. There is no pat ending, only a feeling of breathlessness as all of the details of the story are left to our imagination - well, almost. A strikingly powerful, meaningful, brilliantly executed film. ... Read more

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Walter Hill's colorful directorial debut has quite a cultfollowing for its toughness and violence; it may well be his best film, in fact. Charles Bronson plays a silent street fighter in New Orleans in the '30smanaged by the cool James Coburn. Jill Ireland, Strother Martin, and MichaelMcGuire costar in this spare existential Depression dirge. It owes a lot to its noir origins that Hill adores so much, yet there's somethingvery fresh and vital about its subject and approach. That's really what made so manyof these films from the '70s so endearing. An added bonus is the love and affection displayed by the real-life husband and wife team of Bronsonand Ireland. --Bill Desowitz ... Read more

Reviews (30)

One of Bronson's best
Hard Times (known as 'The Streetfighter' here in Australia) is Bronson's best movie alongside Death Wish. The film is set in the 1930's during the depression, and its recreation of this period is outstanding. This is not a movie for hard-core action/fighting fans. Like 'The Karate Kid' and 'Rocky', Hard Times has a real story and interesting characters. Bronson's character, Chaney, is humble, quiet, a bit of a loner - this contrasts nicely with James Coburn's portrayal of Speed, a compulsive gambler who sets up fights for Bronson. Strother Martin and Jill Ireland (Bronson's real-life wife until her death some years ago) are also great in their supporting roles. Nice to see an old forgotten classic like Hard Times released on DVD.

Best Bronson in Hard Times
"Hard Times" stars Charles Bronson as Chaney a down and out bare knuckle boxer trying to get by in the middle of the depression. James Coburn as Speed is the quick talking not entirely trustworthy promoter who represents Chaney in fights through out the South and Midwest. "Hard Times" is the directorial debut of Walter Hill who shows off a certain realism that would become his trademark in future works. Still, it is Bronson who is the center of this film. Perfectly cast as the aged fighter this is perhaps Bronson at his absolute best. Bronson displays a subtle complexity that is particularly effective in the love affair with Lucy played by real life wife Jill Ireland. Bronson, who was about 54 at the time of filming, is remarkably fit and completely believable even when the odds are stacked against him. The story is taught and directed in a crisp fashion by Hill. The cast is good as an ensemble lifting this underrated feature to the level of very good. Yet, it is Bronson and that one of a kind face that makes "Hard Times" a true classic of the genre.

Classic Bare Knuckle Action in the Big Easy
This movie is a classic tribute to the subject of "prize fighting". Released in 1975 and directed by Walter Hill, it centers around a 1930's depression drifter named Chaney (Bronson). Chaney is the consummate drifter ---- indifferent and reluctant to commit. However, he ends up in New Orleans and stumbles upon the local subculture of bare knuckle fighting. He then convinces a local hustler by the name of Speed Weed (Coburn) to let him be his next "hitter". Chaney's silent, strong presence brilliantly complements Speed's enormously extroverted style ---- Chaney is the soft-spoken, rugged fighter and Speed is the colorful, manager promoter. However, Chaney's reluctance to commit proves to be a reoccurring test for Speed Weed. Even with his girlfriend Lucy, played by Bronson's wife Jill Ireland, Chaney is emotionally detached and shows an easy comes, easy goes attitude.

Chaney wins a few tough illegal fights bare-fisted but Speed falls victim to his own careless wheeling and dealing and is unable to pay his debt to a gang of thugs. As a result, Chaney is forced to fight one last fight with Street ---- a big bear of a man played by Nick Dimitri. This is a climatic event in the movie with both fighters waging one of the most gripping fight scenes this side of Hong Kong. Even better ---- the fight scenes are choreographed the old-fashioned way without relying on special effects

Strother Martin provides a great supporting role as the languid and shady character known as Poe ---- he provides medical advice despite an opium addiction and his failure to finish medical school. Martin also played the prison warden in the movie, "Cool Hand Luke".

Also notable is veteran tough-man actor, Robert Tessier, who plays John Henry ---- the bald grinning tattooed anathema managed and promoted by Speed's rival, Chic Gandil ---- convincingly played by Michael McGuire.

Bronson's physique and muscular definition rivals that of any actor that I've seen portraying similar roles in movies --- even Stallone when he played Rocky. And Bronson was in his 50s'---- incredible!

Also, impressive is the cinematography ---- scenes of New Orleans boat docks, warehouse district, cemetery and French Quarter set the mood for New Orleans during the 1930's depression. Walter Hill, as always, does a good job providing visual and aural (music) elements to the movie that emphasize the culture that surrounds the characters and events.

The fights don't take place in the traditional sense --- gloved combat performed legally within the ring. Fights are illegal bare-fisted slugfests arranged on boat docks and in warehouses among crowds of gambling onlookers. You'll see plenty of the old-fashioned fist fighting techniques reminiscent of old Saturday afternoon action movies. Notice Bronson tends to fight with his arms close to his waist as if he was preparing to do a series of bicep curls ---- classic all the way.

I consider Hard Times to be a true classic. It is certainly one of the greatest films of its genre.

Hard Hitting Action !!!
A real gem ! Contrary to another review (14JAN04)- 'Hard Times' stands-out as Bronson's finest action film. A former boxer (amateur)himself; Bronson is in top form (and top shape at 52 years old !). Patrick Swayze's attempt ('Roadhouse'), to emulate Bronson never worked - simply because Mr. Bronson was an original. See this film !!!

Excellent Bronson DVD
This film is, in my opinion, one of the best Bronson films along with Honor Among Thieves, Rider on the Rain, Red Sun, and From Noon Till Three. This role is tailor made for Bronson's tough, silent persona(like Chato's Land). This film was released in 1975 but was filmed in 1974-most films, after they finish filming, go into post production, editing and then are released up to a year after they actually finish shooting the final scene. Bronson was 52 yrs old(not 54) when he appeared in Hard Times. Bronson was born in Nov. 1921 and Hard Times was shot prior to his 53rd birthday in 1974.
If you watch the scene in the meat packing plant in Clint Eastwood's film Every Which Way But Loose, it seems like a direct rip-off of the Hard Times scene in Pettibon's joint--the manager of the defeated fighter won't pay up until a gun is produced. Also, in Eastwood's sequel Any Which Way You Can, Wilson, after scouting out Philo Beddoe's fighting ability, remarks "It's been a pleasure watching you work". This, to me, is a direct rip-off of Gandil's line to Chaney after the final fight in Hard Times. Interesting to note that Hard Times was released 3 yrs before Every Which Way... and 5 yrs before Any Which Way...

I happen to be a Bronson "fan" and own most of his starring role films as well as many of his supporting role films, but even if you are not all that interested in Bronson's work, you will still probably find this an excellent film in it's own right. The DVD is, in my opinion, crystal clear both in picture and sound, and gives you the added bonus of viewing in full or widescreen formats(the widescreen is 2.35:1 and is authentic widescreen). Towards the beginning of the film, there is a scene between Bronson and Coburn which takes place in an oyster bar. At one point, when Bronson is speaking, he is cut off from the scene in the fullscreen version but is completely visible in the widescreen version. Anyway, the DVD is well worth purchasing and I trust you will enjoy the film. All the best! ... Read more

Reviews (21)

SIMPLE GENIUS
ROBERT DUVALL WON THE BEST ACTOR OSCAR FOR HIS ROLE IN THIS LITTLE FILM AND RIGHTFULLY SO.
HORTON FOOTES SIMPLE SCRIPT ALONG WITH NORTH TEXAS FLATLANDS FRAME THIS POIGNANT TALE OF AN ON THE SKIDS ONE TIME SOMEBODY IN THE WORLD OF COUNTRY MUSIC. ENTER MAC SLEDGE, DOWN AND OUT DRUNKARD WHO CANT EVEN PAY HIS MOTEL BILL.
HE ELECTS TO WORK IT OFF AND FALLS IN LOVE WITH THE WIDOWED MOTHER/OWNER OF THE RAMSHAKLE ROADSIDE INN.
TESS HARPER PLAYS THE CONSERVATIVE TEMPERANT CHRISTIAN WOMAN WHO HELPS MAC FIND HIS WAY AND MARRIES HIM IN THE PROCESS.
HE SLOWLY LICKS THE BOTTLE WHILE WARRING WITH HIS EX WIFE WHO IS CURRENTLY SUCCESSFUL IN HER OWN MUSIC CAREER.
THE EX COUPLE BATTLE OVER MACS RIGHTS TO SEE HIS ESTRANGED DAUGHTER PLAYED BY ELLEN BARKIN.
MAC RECORDS A SINGLE AND BEGINS PLAYING WITH A LOCAL BAND. SLEDGE GETS SAVED AND BAPTISED AT THE SPURRING OF HIS NEW WIFE AND WE BEGIN TO SEE THE LIGHT AT THE END OF THE TUNNEL FOR OUR PROTAGONIST.THIS IS NOT AN ACTION FLICK, A SCI FI FLUFF FILM OR A SLAP YOUR KNEE COMEDY. THIS IS A SIMPLE MOVIE WITH CHARACTERS AS RICH AS MILK CHOCALATE AND A STORY CRAFTED FROM QUALITY.

IT IS DOUBTFUL THIS FILM MADE MUCH MONEY AT THE BOX OFFICE. BUT THAT IN ITSELF SHOULD TELL YOU IT IS A THINKING PERSONS FILM

As close to perfection as movies ever get.
"Tender Mercies" proves beyond doubt that Americans can make movies the way Europeans do, and still make them unmistakably American. Sure, the director, Bruce Beresford, is Australian, but screenwriter Horton Foote and star Robert Duvall--both of whom won richly deserved Oscars--root this movie firmly in Texas soil. As Mac Sledge, an alcoholic country singer trying to rebuild his life and career, Duvall gives a performance of astounding complexity and emotional impact, all the more astounding because of its laconic spareness. It ranks as one of the greatest performances ever given by an American actor. He is nearly matched by Tess Harper as his new wife and Ellen Barkin as his daughter from his first marriage, and Russell Boyd's photography captures the Texas prairie in all its stark, lonesome beauty. Two other performances that deserve praise are those of Betty Buckley as Mac's country-star first wife--a woman who has let paranoia and resentment take over her life--and Allan Hubbard as Mac's stepson, a resoundingly normal, likable kid. Don't come to this movie looking for slam-bang action--it's a quiet, gentle slice of life, brimming with poignant emotion, filled with love and respect for its characters and their way of life.

QUIET PERFECTION
Box office wise, TENDER MERCIES, sounded like a pebble dropped in the ocean, but this is a cherished film among those who appreciate quiet perfection. The simplicity of this film is its lasting fame. But this was also Duvall's hour of glory and the Academy rightfully gave him his Best Actor Oscar (1983) in what had to be a runaway vote. Best Song nominee, "Over You" still launches my heart into my throat.

a must see!
I agree with the fact that this film was not a box-office blockbuster but it was just as well because when I saw it the theater was not filled which is the way I like it. In any case, I bought the DVD and watch it over and over. Duvall's singing was a surprise, not as good as Sissy Spacek's in Coal Miner's Daughter, but good enough for a small Texas bar. Another movie that I compare this to was Murphy's Romance with Sally Field and James Garner (Garner was nominated for an Oscar, I believe, the same year as Harrison Ford in Witness and William Hurt in Kiss of the Spider Woman.) This film has a sort of switched-roll theme on Tender Mercies with Sally Field as the down-on-her-luck woman who meets a stable, older man. Also a fantastic film as far as it's character study. See both if you can.

Almost...but....
It feels almost criminal not to give the obligatory five stars and effusive accolades to this film. But, expecting a prototype of The Apostle, I was a little let down by Tender Mercies. Both films deal with the similar theme of redemption, of getting a second chance in life, but The Apostle hits you much harder. In that film, Duvall takes you on a rollercoaster ride from hell to heaven. Tender Mercies does not. It takes a quieter road and this doesn't always help it. As one reviewer said, it has a 'laconic sparseness,' much like its high plains backdrop. And sometimes this skeleton would have done better with a bit more meat on its bones.

Duvall can't be faulted though. His performance as Mac Sledge, down and out ex-country legend, tormented by alcohol and the debris of divorce, is first class. Mac is taut and restrained. None of the explosive volatility of Sonny from the Apostle. By holding back, Duvall can still say everything and does, but I would have liked to have seen more tears, more rages.

Having hit rock bottom in some podunk Texas motel room, salvation arrives in the form of Tess Harper's character. A Vietnam widow, she eeks out a living for herself and for her son by managing a rundown motel. She decides to give her boozy tenant a chance to start over in life. Seeing what he was and what he could still be, her faith in Mac inspires him to change.

The only problem is that Tess's character doesn't really work. She doesn't have any depth. We never know why she opens her heart to this stranger. Ok, love...but their relationship is pretty passionless. At least from her side. With her simple wholesomeness and quiet piety, she seems a mere foil to Mac's worn-out worldliness.

The characters of Mac's ex and daughter are far more fleshed out. And better acted as well. Mac's ex seethes with the bitterness of their divorce and thus gives the film a jolt of life with her high strung antics. Jealous of Mac both professionally and personally, she can't accept his new life, his new happiness. Their daughter, played by Ellen Barkin, is the surprise of the film. Without a doubt, the best female character of the film, she subtly plays out the pains of a girl in search of her daddy. Whom she nevers really finds. Again, the complexities of the father-daughter relationship are poignantly hinted at, but taken no further.....

As is the spiritual change that inspires Mac to become baptized in the local church. What's the motivation behind it? Merely love for Tess's character or did he himself feel the need for it? Unexplored territory. Such unanswered questions often times increase the suspense of things, but here, too little was just too little.

The ending though makes up for these grey areas. Tragedy stikes as one door of life is closed and another opens. Mac dies to his past so he can start again. But at a tremendous cost. With the ending, Beresford does a truly masterful job of mixing pain with hope, as the ultimate message of the film is revealed. The Lord does indeed shower us with His 'tender mercies.' As He taketh, He giveth.

Tender Mercies, despite its flaws, is indeed a powerful story. Well worth the watch and for Duvall fans, a must. A taste treat, it gives a hint of even better things to come. ... Read more

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Any Given Sunday, Oliver Stone's salute-cum-exposé of pro football, belabors some pretty obvious points for nigh onto three hours; but between the frenetic editing, the pounding rap-music beats, and several flashy performances, it's certainly never dull. Al Pacino, coach of the fictional Miami Sharks (the NFL declined involvement in this production), struggles with the most time-honored of sports movie dilemmas: what to do with the old friend who's past his prime and the young hotshot who could save the franchise but first has to learn what being a team player is all about. Comedian Jamie Foxx does a marvelous dramatic turn as the rookie quarterback whose ego and talent are equally impressive, while Pacino seems more at ease in Oliver Stone Land than any actor since regular James Woods (on hand as well as a sleazy team doctor). Prowling the sidelines, shouting spittle-flecked orders, seizing up in almost physical pain when a play goes the wrong way, Pacino is as unashamedly--and entertainingly--hyperbolic as Stone's whirling montages of boiling storm clouds, bloodthirsty fans, and players smashed into the mud. (Once again football, perhaps the most sophisticated of team sports, is viewed cinematically as a bunch of guys hitting each other in slow motion.) Unfortunately, all the self-conscious mythologizing and pumped-up macho posturing that Stone can muster doesn't conceal a clichéd, slapped-together script, whose few good ideas (mostly about race in America) jostle about with several hoary, terrible ones--including a too-literal analogy of football players as modern gladiators. (To drive the point home, Stone includes Charlton Heston--the aging Ben-Hur--in one of many star-powered cameos.) All in all, Any Given Sunday is never dull, but never very enjoyable, either. --Bruce Reid ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Reviews (16)

Intriguing but a disappointment
Jazz aficionado Clint Eastwood's admiration for the legendary Charlie Parker is evident throughout "Bird," but it can't overcome a script that dwells on the great musician's self-destructive drug use at the expense of his musicianship. Why did Charlie Parker die at such a young age? The film answers that question rather explicitly. Why was Charlie Parker great? "Bird" tends to fumble when addressing that question. Still, Eastwood captures the smoky ambiance of Parker's nocturnal world very well, and the music is hard to fault. Though it is ultimately a disappointment, "Bird" is worth a look for admirers of both the director and his subject.

A MASTERPIECE OF JAZZ AND DRUG FILM NOIR.
Wow, I can't believe the negative reviews for this MASTERPIECE by Clint Eastwood. Being a big fan of Jazz, I've owned this film for many years in more than one incarnation, and have watched it more times than I care to tally.

Many reviewers said it's overly dark. Yep. Jazz musicians spend most of their time in dark smoke-filled nightclubs. So does BIRD. This is a great MOOD PIECE. It could also be called FILM NOIR.

Many said it doesn't establish why Charlie Parker was one of the greats of Jazz. In one particularly brilliant scene of writing in this film, Parker is talking about himself and the legend of BIRD to Red Rodney, partner in Jazz and fellow heroin addict. He talks about "going inside the melody" of Cherokee, a song he had played many times and was tired of doing. Parker decides to go around the melody with little notes and discovers his style. Thus, a whole new form of music called Be Bop is born. A superb scene.

Many reviewers said it dwelt too heavily on the negative aspects of Parker's drug abuse. This is true. However, heroin played a significant part in early Jazz music in this country. Heavily significant. A majority of the best and brightest Jazz stars were plagued by addiction for many years. Read Miles Davis' autobiography. He lists them all. Eastwood recognizes this in a scene where Parker is in Paris and is debating whether to return to the States. A fellow sideman is trying convince him to stay in France where he can make a decent living. SIDEMAN: "You can't make no living playing Jazz in the States." BIRD: "Dizz can. Duke can." SIDEMAN: "Well you ain't Dizz. And you certainly ain't Duke." BIRD: "So I kick." The Sideman laughs uproariously. BIRD: "I can kick." The Sideman laughs harder. The point of this exchange: the only successful Jazzmen are Duke and Dizzy because they may be the only ones not hooked on heroin. Subtle writing. A brilliant exchange that conveys so much about the world of Jazz. For some Jazz musicians, heroin was used in a creative context whether people will admit that or not. And drug and alcohol abuse DID kill Charlie Parker. Artists can be extremely self-destructive human beings.

Some said it wasn't accurate. Many film biopics use composite characters for dramatic effect and change some history for storytelling purposes. Films can't possibly contain a person's whole history. It's not possible. But BIRD conveys Parker's fame and troubles with amazing grace and skill.

Yes, BIRD is dark and depressing. It is also a brilliantly realized ART FILM. However, the timeline can be very confusing. I screened this for a friend, who was lost in the flashbacks. He did however, enjoy the film.

Another thing I love about the script, is that it portrays Charlie Parker as an articulate and eloquent man, as many Jazz musicians were at the time and still are. (Wynton Marsalis comes to mind.) Even in "the midst of my disorientation," Parker remains articulate. One of my favorite lines of dialogue is when Parker is waking up on the floor after passing out in a wealthy patron's house. She explains to him that he has passed out, and Parker retorts from the floor, "Very undignified of me." BEAUTIFUL WRITING.

I just had to chime in, because this film is an overlooked TREASURE. Forest Whitaker gives us probably the most amazing death scene I've ever witnessed on film. He should have won the Oscar for his performance. It was shamefully overlooked. Diane Venora is superb as are the rest of the cast. And as for Clint Eastwood; this is without a doubt, HIS BEST FILM. And one of my all time favorite flicks. Thanks Clint, for giving me many hours of enjoyment, and taking me back to a time I wish I had lived through, with this WORK OF ART. YOU are a TRUE JAZZ LOVER.

If YOU are A TRUE LOVER OF JAZZ or A TRUE LOVER OF FILM ART, YOU MUST SEE THIS POIGNANT PIECE OF JAZZ HISTORY. THIS IS SUPERLATIVE MOVIEMAKING.

This Bird doesn't fly
This movie was a disappointment for me. I had hoped to learn about a creative musician's life but that is not the story here. The acting is great but the threads of plot are just too disconnected. I suspect those who love this film know Mr. Parkers life so well that the holes in the story don't keep them in the dark the way I felt. Clint Eastwood directs this movie like my 15 year old son who doesn't understand how to show me something that he knows really well and I don't. That's the feeling I had watching this movie.

Unless you know Charlie Parkers life very well I'd pass on this movie.

Never forgot it
Forrest Whittaker is one of the best actors in Hollywood. It's a shame we don't see more of him but he had a triumph with Bird. Some critics have said it wasn't completely accurate. That's true. Bird spent his adult life as an addict and there's nothing romantic or touching about that. Bird's relationship with Chan wasn't as portrayed in the film but the full, unfiltered story of his life would've been more than most audiences could bear. This is the "lite" version, kind of like Lady Sings the Blues but it's still a great film that gives you an idea of it's subject's genius and it well worth the money.

Warning - DVD does not play in computers
I saw this movie a long time ago and liked it. Unfortunately,
the DVD is "copy protected" and will not play on most
computers unless you have CSS cracking software. Too bad.
I don't want to buy a DVD player just to watch a few DVD's
so I play them on my computer. But not this one. ... Read more

Reviews (12)

a real good film
Nick Nolte&Mac Davis give great performances in this film.this film pre-dates all of the maddness that has happened in the NFL since it's release.drugs,sex,coaches,etc..this film is one of the best sports movies.the real life Dallas Cowboys finally caught up with the film in the mid-90's.

For movie lovers and football fans
NORTH DALLAS FORTY delivers first-rate entertainment. Football fans will note stinging parodies of a few famous NFL players/coaches. Among quality performances from Nick Nolte, Mac Davis, Charles Durning and the late John Matuszak, actor Bo Svenson stands out. Svenson adds depth to what could have been a cartoonish role of an immature, stupid muscle-head, and it is unfortunate that I have not seen him in anything else this good. The film's poster makes NORTH DALLAS FORTY look as though it is a pro football version of ANIMAL HOUSE. Sure, NORTH DALLAS FORTY is funny at times, but the film also takes on the abuses in big league sports and management's selective enforcement of the rules. Sports journalists, let alone other sports films, ought to address those issues as boldly.

LIKE A HELMET TO HELMET HIT
NORTH DALLAS FORTY is not just a sports film, it's an indictment of corporate America that was the forerunner of the "Greed is good" films of the 1980's. One of the nicest acting surprises of 1979 was Mac Davis as Seth Maxwell, the consumate huckster who fails in his quest to save his friend, Phil Elliott from his own pre determined gridiron destiny. As Elliott, Nick Nolte, gives 1 of his 3 best performances and he and Davis play perfectly off each other. This film is a winner. All that was missing was NFL Films "Voice of God" John Facenda, with the play by play.

You, and B.A., and all the rest of you coaches are.....
An NFL wide receiver (Nolte) who purportedly has "the best hands in football" has been benched and is being used as a substitute. It's not for lack of ability or effort but because of his "attitude". He's been a starter for years and it's hard to take ("I'll die on the bench"). He needs to "give 'em what they want" and "you had better learn to play the game, and I don't just mean the game of football". Advice from his buddy Seth Maxwell (Mac Davis), who's the team's quarterback and a "star", is good advice, but Elliot (Nolte)doesn't seem to have it in him to follow it. Catching a winning TD pass from Maxwell in the closing seconds isn't enough. The play was a "fluke", as summed up by their head coach B.A. (G.D. Spradlin) while analyzing the game film the following week. The week after the game is what the show is about. The meetings, practices, workouts and various extra curricular activities, all leading up to the next game in Chicago. Charles Durning plays an assistant coach who is a constant bother to the players while he drinks bottles of Maalox. Bo Svenson (Joe Bob) and John Matuszak (O.W.) play excellent supporting roles along with many other actors. If you grew up thinking professional athletes were the salt of the earth this show may very well make you reconsider.

North Dallas 40 rocks!
Nick Nolte does a supurb job as a veteran wide receiver playing for a top team in the NFL during the late 60's or early 70's. The fact that he is an individual in a team sport makes this story even more exciting. Although he has come to the time in his career when medical science and tons of pain killers are a necessary daily diet in order to lace up the old cleets one more time for the team, he does not shirk his responsibilities or take the easy road when it comes to performing his job. Mack Davis turns in a creditable acting job as Seth the veteran QB of the team that has his way even when he is wrong. Now if you think that this movie is all about football you will miss the true meaning and emotion of the entire event. In the midst of a savage and hostile working environment a person can still be true to self amidst the greedy management side of a very tough sport. I hope that this whets your appetite to get this movie. There are memorable moments in and out of the locker room. The tell all book written by Peter Gent was more than an eye opener back a few decades ago and this rendition of the book does it justice in every way. Once you start watching this movie you will not want to turn it off! If you are a fan of football reality, you will want this movie. Oh, by the way, the author Peter Gent played professional football for the Dallas Cowboys back in the 60's I believe. That is what makes this movie so creditable and Peter does not hold back anything. Enjoy!! By the way I think that this movie is rated "R" for brief nudity, language, and violence. ... Read more

Reviews (205)

Any Given Sunday
This was truly an excellent film. This movie is Oliver Stone's best since Platoon. The fast-moving and dizzying cinemaphotography fits the high adrenaline atmosphere of the professional football world well. The film is also perfectly cast. Pacino gives life to the head coach, and Cameron Diaz's clearly most intense role as the team's owner is believeable. James Woods gives an excellent performance as the team doctor, who doesn't really seem to care about anyone but himself. Jamie Foxx has a breakthrough dramatic role as the new hotshot quarterback, whose ritualistic vomiting adds humor to the movie. With his performance, we find out Foxx really can act. LL Cool J, also puts through a convincing performance as the team's running back. Dennis Quaid doesn't really do much as the former QB with injury problems except help to develop Pacino's character. An outstanding cast, that features Charlton Heston as the football comissioner, and Ann-Margaret as Cameron Diaz's alcoholic mother. Former pro football players Jim Brown and Lawrence Taylor pop up as members of the team. I recommend it highly. This is possibly the best sports movie ever made.

War games.
Oliver Stone's cinematic obsession with portrayting American culture as a Vietnam battleground continues with this exhausting study of their national sport.

Once again abandoning the traditional story-telling conventions in favour of flashy cutting, trippy camerawork and a barrage of electic musical snippets, this is a game of two halves. Although the hour or so of in-your-face American football footage is hypnotic, thrilling, scary and technically astounding, the off-field conflicts offer the same old tired sports cliches, albeit with big names and Stone's eccentric camerawork.

The first half hour of the film is almost a mini masterpiece. Sticking the audience smack in the middle of a ferocious game of American footbal, he brilliantly orchestrates frenetic, muddy, bloody, bone-crunching MTV visuals in a Natural Born Killers vein, and introduces the stressed protagonists. There's explosive coach Tony D'Amato (Al Pacino), cynical owner Christina Pagniacci (Cameron Diaz), dedicated star player 'Cap' Rooney (Dennis Quaid) and self-important star player to-be Willie Beaman (Jamie Foxx). When Rooney receives a major injury, Beaman is thrust into the spotlight and begins to show his potential. As his quarterback skills improve and the team seems destined for a play-off place, his arrogant disregard for the rest of the team causes majoy ructions. Meanwhile, Tony and Christina's major hate-hate relationship worsens.

There's a handful of other subplots too, which you could probably write yourself and the fine supporting cast - James Woods, Matthew Modine and Aaron Eckhart - are criminally underused. The behind-the-scenes drama is decently performed, but it seems so flat and pedestrian compared to the explosive games, that you find yourself willing on the next touchdown. Pacino is energetic as usual, even if he is in shouty auto-pilot, Foxx is almost Oscar-worthy in a memorable performance, and Diaz is pretty amazing, it is good to see the actress playing different roles, as her character, Christina Pagniacci is a cold-hearted bitchy business woman, and Diaz usally plays blonde sweet-hearts.

It would seem that the character-and-plot driven days of Platoon and Born on the Fourth of July are long gone for Oliver Stone. Pushing the technical envelope is an alright decision, but it is about time Stone varied his game a little.

About more than just the game
I'm not a football fan. In fact all I know about the game is that there is a ball that must be moved from one end of a rectangular field to the other. Stone decided to draw parallels between this modern game and the gladiators in Ancient Rome. The suggestions were anything but subtle, what with the grunting, clashing sounds, the numerous shots of Ben Hur and the actual references in the film you couldn't help but notice.

Although this movie is ostensibly about football, I came away from it learning a bit more about life. The movie is about an old coach (Al Pacino) whose love of the game has blinded him to life's real pleasures, an injured QB (Quaid) who is easily manipulated by others to continue playing even if it is detrimental to his health. The daughter (Diaz) of a dead football 'baron', who seeks to fulfill her father's lost hope for a son, and a rising star (Foxx) who is blind to everything but his own gratification. From these cast of characters Stone creates drama.

This movie is exciting even for those, like me, who aren't too interested in football. The game scenes seem more like gladiatorial battles than actual football games, and you are left wondering if we have really changed from those Romans thousands of years ago, the way 'we' love these slugfests.

As some earlier reviewers mentioned, Stone appears to be slightly biased in his portrayal of the management of these teams. They are definitely out to make money, but I doubt they are as ruthless as they were made out to be. He should have had some perspective in this movie so as not to make it seem like the management were the 'baddies' and the players hapless pawns.

Overall, this was a great movie. I'd recommend it to anyone who likes drama. For those with kids, you might want to watch it beforehand as it has some sexual scenes, nudity and quite a lot of obscene language.

Not quite there, but entertaining.
In Oliver Stone's Any Given Sunday, the audience gets hit by cliches as fast and as hard as the fictional Miami Sharks' quarterbacks get hit by other players during the film's opening game. The audience also get hit hard by the (overly) kinetic editing, both of the film and of the mish-mash adrenaline pumper of a soundtrack, featuring an assortment of rock, rap, and techno beats. Stone and co-writer John Logan push (overly) to get us to buy into their vision of the NFL as a modern gladiatorial arena, and frankly, it doesn't always work; Logan would later get his gladiator fix by co-writing Ridley Scott's crowd-pleaser, well, Gladiator. Still, Logan and Stone manage to score some points with their (overly) broad script which tries to give us an all-encompassing view of modern professional football. Inevitably, it proves too much, and the writing just proves too wide in scope to create a balanced and clear film, though it does have its shining moments, such as when Coach D'Amato (Al Pacino) has comments on the (overly) commercial persona the NFL has adopted, or when Cameron Diaz's character's mother describes the "tragedy" that is her daughter.

Pacino, completely at ease in an Stone flick, gives his first real performance in a long time. Both in his in-game frenzy and in his drunken, sadder scenes, Pacino delivers the goods. Comedian Jamie Foxx also turns in a winning dramatic performance as the rookie quarterback. Come to think of it, the whole cast is stellar and all perform well. Stone seems to bring out strong, almost flamboyant, performances in his actors, and in Oliver Stone films, that's very appropriate. However, the MTV-inspired soundtrack and cinematography detract from the serious delivery of some of the film's concepts. At times, the film seemed more an extended music video than anything else.

Any Given Sunday is a rough movie, both in terms production and in content. The film, despite its lengthy runtime, still feels like it left much of its ideas unsaid; the script just tries too cover simply too many characters and concepts, leaving many of the key players in a somewhat shallow and cardboard like state. Still, Any Given Sunday is an entertaining movie, and fans of football, Oliver Stone, and movies overloaded with dizzying amounts of music and testosterone will no doubt be pleased by the time the credits roll.

MOST REALISTIC SPORTS MOVIE EVER
Among Oliver Stone's work includes "Any Given Sunday" (1999), as good and realistic a sports movie as has ever been made. It features an over-the-top performance by Al Pacino as a veteran pro football coach who can still motivate his over-paid, over-sexed, over-drugged, slightly thuggish, mostly black (except for a few White Aryan Brotherhood linemen) mercenaries with a speech that sends Knute Rockne to the bench.
He reportedly is working on the story of the 1934 Republican industrialists who recruited Marine hero Smedley Butler to overthrow Franklin Roosevelt, which was the genesis of "Seven Days in May". We are still waiting for Tinsel Town to take on Kennedy stealing the 1960 election. It could be a long wait. If any producers are reading this, I am offering my services at the Writers Guild minimum. ... Read more

Amazon.com essential video

This Academy Award winner for Best Picture is a sweeping soap opera about the guests at the Grand Hotel. Several plots intertwine, but mostly it's about Stars! Stars! Stars! Greta Garbo, Joan Crawford, Wallace Beery, and both Barrymore brothers head up the cast. Garbo is luminous as Grusinskaya, the neurotic and famous-but-slipping dancer and, yes, she "vonts to be alone." John Barrymore is a cat burglar with blue blood and a heart of gold, and Lionel Barrymore happily caroms off him as Mr. Kringelein, a dying man who wants to live out the time he has left with the rich. Joan Crawford is perhaps the biggest surprise of the movie: as Flaemmchen, a young career girl trying to decide between secretary and tart, she is uncharacteristically funny, vivacious, and downright bubbly. Along the way we discover that money, fame, and titles don't guarantee happiness, and being a jewel thief doesn't necessarily make you a bad person. The nicest touch is the hint that other, minor plots swirl around the edges of the film, suggesting that we've only seen a small chapter of the hotel's story. Grand Hotel is a great deal of fun and an excellent chance to see some famous faces in their prime. --Ali Davis ... Read more

Reviews (113)

A Hallmark card of a movie....
This is a visually pretty movie, written to be poignant. People seem to forget this when they write reviews of it....

"The Legend of Bagger Vance" is a worthwhile view provided the viewer satisfies a number of conditions first. First, viewers who are looking for an artistic masterpiece will find is a sickeningly sweet picture without angst or pretense aside from that which Will Smith delivers his lines; these seem to come straight out of the self-help books written by people like Deepak Chopra. Matt Damon plays a World War I veteran smitten with enough angst to drink himself into a stupor yet not quite enough to seek the greater redemption through literary or means enough to help anyone other than himself. There is no angst or mental torpor; this isn't that kind of movie.

So what is it? This is a feel-good movie-- not quite a golfer's 'Field of Dreams' but darned close. She builds a golf course, the all-time greats come, and in the end, the world is saved and we reach the truly great end-of-history (not Hegel's or Fukyama's)-- life happily ever after.

The music, clothes, and actors in this movie are what one would expect out of a work without hint of depravity or true tragedy. When the protagonist's father is out of work, it is not because he suffered but instead because he was good; even the 'bad' guys really come off good. It's as heartwarming as anything outside of Disney, and all over the world, golfers shall be drooling over the shots of the course....

I liked the way we danced!
Robert Redford's latest film is an inspiring story of life and god and man's quest to deal with the demons of war. This fertile soil is handled perfectly Redford, a director with a soft touch. The story is similar to that of A River Runs Through It, another Redford film.

The movie is set in the Savannah Georgia of the Great Depression. Rannulph Junuh, played by Matt Damon, is a war veteran and former champion golfer who has lost his authentic swing. However, he has been asked to play in an exhibition match against the two greatest golfers of his day: Bobby Jones and Walter Hagen. His Caddy is Bagger Vance, played by Will Smith. Bagger is an angel, but is a character in the mold of the Raven or Coyote trickster of Indian Legends. He is the guide who shows Junuh the way to slay his inner demons.

This movie is wonderful film and will be a delightful addition to any collection. Rating 4 1/2 Stars.

An excellent movie!
"The Lengend of Bagger Vance" is one of those movies that has a sense of beauty and magic to it. Will Smith does a tremendous job as Bagger. There are a number of one liners he delivers with a smile on his face. Yet, he conveys a deep sense of being more than he appears.

What adds to the movie is a tremendous soundtrack. The music has a way of touching the soul and leaving a mark.

It is difficult to put into words what draws me to this movie. The acting, scenery, music all combine to give the viewer a wonderful feast not soon forgotten!

What's the big deal
A golf movie, a philosophical tale, but I wasn't enthralled by it. It did recieve a lot of press and since it was a Redford movie, became the darling movie to see. Was I impressed? Not really. Will Smith seemed out of character. Morgan Freeman may have been an older, better choice. The wisdom of the youthful Smith seemed out of context. This one even smells like Hollywood. A golf version of Titanic or Pearl Harbor... a believable fake.

The hasbeen that never really was.
I was touched By this film. The meaning of this movie to me
was . God gives all of us a mullagan every day we live.
To keep trying ,not giving up and that anything is
possable. Maybe if i keep trying i can find My swing. ... Read more

Description

Academy Award©-winning star power lights up this passionate production of Eugene O'Neill's timeless American classic! In the height of a sweltering summer, the Tyrone family is about to explode with simmering tensions and suppressed truths that can no longer be held back. Wealthy but unsatisfied former actor James (Jack Lemmon) lives with his morphine-addict wife, Mary (Bethel Leslie, In Cold Blood), and their two tormented sons, Jamie (Kevin Spacey, The Usual Suspects) and Edmund (Peter Gallagher, TV's The O.C.). As nightfall approaches, truth and madness fight for control over a family tearing itself apart. A landmark production from theater legend Jonathan Miller, this searing drama is a bold, electrifying powerhouse you'll never forget! ... Read more

Reviews (1)

Jack Lemmon Rules!!!
Jack Lemmon rules in this great landmark theatrical production.It's a must see!!! ... Read more

Reviews (16)

"Can't You Get It Through Your Thick Skull That I'm Broke?!"
I've reviewed this before here, but I just watched it last night and was blown away, AGAIN, by Bette Davis' memorable performance.

I felt so sorry for Margaret Elliot, the down-trodden, has been star, who was now broke and absolutely petrified.She really didn't know how to be anything else BUT "a star."The reality had already hit her when the film opens as she walks pass an auction where her personal belongings are being sold to pay creditors.

There are so many incredible scenes and hardly any dull moments in this hardhitting script, that you could spend the rest of your life quoting "Bette Davis lines."Take this one: "You can do anything but get me a picture, can't you?Harry Stone, the great big starmaker, the gentleman agent...MY friend..."Or this one: "Well, I've been running around in circles too, but NOT Margaret Elliot circles...I want you to take me STRAIGHT to Joe Morrison!"Or this one: "Take a good look, ladies. So there's no doubt, I AM Margaret Elliot and it IS a disgrace. MARGARET ELLIOT waiting on a couple of old bags like you!"

There are so many more.As I said in my other review, "Bette Davis does everything but hit the ceiling" in THE STAR. Her performance had Oscar written all over it.Funny, if an actress today did one quarter of what Davis did here, she'd GET that Academy Award.But, in 1952, the competition was much stiffer.Today, actors win for so-so performances, not great ones.

I WANT "THE STAR" ON DVD WITH PLENTY OF EXTRAS.Bette, herself has said that along with Baby Jane, Margaret Elliot was one of the greatest opportunities she'd been given as an actress.She felt that the REALITY of the character made Hollywood feel "too uncomfortable."

Pre-Ab Fab!
Edina would have been proud! I just love when Bette drives drunk with her Oscar! Or how about when she cuts down those 2 women who recognize her working in a shop? "Didn't you used to be...?"

5 "Stars" based on BD performance.
Some of the reviews I've read didn't seem to know that The Star was an Independent film.Of course not like them classy ones we see's now at our cinemas and all.All kidding aside, she took this role because it was a good one and she knew she could relate to it, I think that's why I like her.She was just honest almost to a brutal degree.I just recently watched Now, Voyager for the first time and often forget that she was a very good actress, we often forget that because of the gay camp value that she is assigned with.

GOING,GOING.....GONE.
Supposedly, this film was based on Joan Crawford's career but who knows?. At any rate, it's an absorbing tale of a washed-up drunken movie star who witnesses her own auction then claws tooth and nail for a comeback but finds life is more meaningful when you're Human. Davis is fine as The Star and the supporting cast is good (including child star Natalie Wood as The Star's estranged little girl). The film is b&w giving it that High Drama look and feel. Sterling Hayden is a one-time co-star (now a curiously butch boat builder) who ends up saving Davis from self-destruction. But this is a Davis vehicle and she was Oscar nominated for it and she's always watchable throughout. She has many memorable scenes including one where she puts her Oscar on the dashboard of her car and says, "C,mon, Oscar, let's you and me get drunk." She gets a DUI and ends up in jail. Yet another finds her being rehabilitated selling lingerie behind a counter and insulting the customers who recognize her. So much to enjoy here for Davis fans, it really needs DVD release. 5 stars for "The Star".

"...now GET me that part in "The Fatal Winter!"
I'm shocked that so many reviewers here were disappointed in Bette Davis' appearance, wardrobe, lighting and make up in this film. People, she was playing a dead broke has been. She looked perfect for this role as Margaret Elliot, the once glamorous Oscar-winning star of the movies. Had she looked like the stylish Margo Channing of "All About Eve", her "Margaret Elliot" wouldn't have been as convincing.

Okay, the script wasn't perfect, but Davis approached this material like a true professional and gave the role everything she had, which was plenty. Davis never really cared about the way she looked and accepted the fact that she was no Garbo or Jean Harlow. She had played unglamorous parts many times before. Miss Davis was a true actress, an artist.

The picture is "dark", yes, but if it had been anything else, it would have ruined this film. The atmosphere created by the director was appropriate for the situation. Margaret was in trouble. She was scared to death and was desperate to get "back where I belong." She felt that "one good part" was all she needed.

After throwing her sister and brother-in-law out of her modest apartment in a screaming rage, Margaret grabs her Oscar, buys a cheap bottle of hooch and takes a drunken ride through the streets of Beverly Hills, stopping briefly b