Reviews (49)

The Nazis come up with the "Final Solution" over lunch
"Conspiracy" is based on the original minutes of the Wannsee Conference held on January 20, 1942 in Berlin where the Nazi worked out "The Final Solution." The of this HBO production is something of a misdirection, because this hour long meeting that would result in the death of 6 million European Jews might have been secret, but it was not exactly clandestine. This is not a meeting where the participants made their plans in hushed whispers, but something that eerily smacks of a board meeting at a large company. These men were going to become mass murderers on a scale rarely seen in human history, but they seem more like bureaucrats than anything else, which is just another level of the horror involved here.

"Conspiracy" goes beyond the recreation of this infamous meeting for the 1984 documentary "The Wannsee Conference," both of which are based upon the lone surviving record of the gather of 15 Nazi officers head by General Reinhard Heydrich (Kenneth Branagh). Included in the group are Lt. Colonel Adolf Eichmann (Stanley Tucci) and Dr. Wilhelm Stuckart, Interior Ministry (Colin Firth), and within an hour they come up with their solution to the "Jewish question." However, this is a sense in "Conspiracy" that they are not so much debating what it to be done but being asked to sign on to the plan that Heydrich is revealing directly and indirectly throughout the meeting in his quest for "unanimity."

This time around the horror is in the details, as these men try to come up with the most efficient way of killing and disposing of that many people while one guy does the math. Given that we know what is going to happen what stands out are not those who cannot wait to start the killing as much as those who have "reservations." Stuckart, who wrote the Nuremberg codes, is aghast at what these new policies will mean for the rule of law in Nazi Germany, as the courts are filled with divorce cases separating Jewish and Aryan spouses. However, Struckart makes it clear he hates Jews as much as the next person at that table. Then there is Dr. Wilhelm Kritzinger (David Threlfall), Permanent Secretary of the Reich Chancellery, who obviously has misgivings on moral grounds, but ultimately can offer no more obstacle than a story, which serves as the final statement on the proceedings when related by Heydrich to Eichmann after the meeting.

The end of the film, where we are informed as to what happened to the participants, is particularly interesting. I was surprised how few of these 15 Nazis were actually executed for war crime. Several of them would die during the war while others would be imprisoned, but a surprising number were released for lack of evidence. I was also interested to find out exactly who failed to destroy their copy of the minutes, although there is nothing particularly insightful about the revalation beyond satisfying my curiosity. In terms of Holocaust films "Conspiracy" a footnote to the mass exterminations, but of interest for what it provide in terms of rare insights into what the Nazi bureaucracy was actually thinking as it launched the "Final Solution."

Stands up to its subject matter
An account of the Wannsee Conference, chaired by Reinhard Heydrich (Head of the Reich Security) on January 1942. This Conference was to be decisive in establishing the "Final Solution" - cause of the Holocaust. One copy of the proceedings was found by American investigators after WW2 and was made into two movies, "The Wannsee Conference" (a West German movie), and the American remake "Conspiracy".

Any movie where we watch people talking for 90 minutes stands or falls on acting quality. Kenneth Branagh, as Heydrich, is excellent - the texture of his role is slick and darkly pleasant. The other actors are efficient. The made-for-TV nature of the movie does become apparent in its low-budget production, but this kind of movie does not necessarily need a lot of fluff.

Watching nazi officers and officials discussing whenever half-Jews should be made infertile or killed is not an inherently desirable experience. But there are many things in life that are undesirable, but must be confronted.

Worth Watching
I had the opportunity of viewing Conspiracy during a Holocaust Education workshop for teachers. It is very accurate (from what I have read) and does show the inner-works of the Wansee Conference.

I believe that the film was either filmed on location or at a place that was very much similar to the Wannsee House. I had the opportunity to travel there this past summer with a group of teachers. I was struck by how much the movie prepared me to think about the house and it's importance in the creation and implementation of the "Final Solution". If you are thinking of showing it to students, you may need to explain to them how the conference was conducted and give them some background -- it has lots of dialogue and plenty of "under currents" that can be hard to follow if you are not familiar with the "power plays" that were going on at that table....lots of ego at that table. It is important to remember that many of these individuals were sent by the "major players" in the Nazi regime to attend the conference. By not attending the conference himself, Hitler and his administrative members could claim "plausable deniability" (so they thought) if anything were to go wrong with the plan. It is hard to believe that this beautiful house that is located on beautifully-decorated ground and of of a spectacular lake could have played such a major role in WWII. Chilling!

chilling and engaging
It is certainly true that this is not the most accurate of historical documents, but then any historian would tell you that all history is in the interpretation and so the movie is as useful as your interpretation. The performances are excellent, Branagh, in particular, is outstanding, he is every bit the portrayal of the chillingly pleasant monster. The message is powerful, the acting and direction cold, calm and calculated - within 1 hour the holocaust was decided upon; the moment where the topic of discussion is how many and how fast can they be culled? is particularly sickening.

From an historical perspective i found the following very interesting: Hitler based his party structure on a chaos theory in that he had simple overlapping functions, so that his subordinates would always be engaged in in-fighting, instead of challenging him. It worked remarkably well. Here, in motion, the director shows the in-fighting, but on this part of domestic policy (internal to the Reich, at any rate) the decision was swift and unanimous, Heydrich alone held the power. Utterly intriguing.

What may make this more interesting for anyone, might be to read Hannah Arendt's account of Eichmann's trial in Jerusalem, which is published by Penguin.

Haunting
The Holocaust is one of humanity's greatest tragedies, and its mention brings up images of swastikas, death camps, mass graves, and gas ovens. It's some thing you can't talk about easily, and can barely joke about unless you have no heart. This film is about the Holocaust, and while you may see a swastika arm-band and hear a few Heil Hitlers, you won't find any violence or harrowing images; this film is only rated R due to the use of the f bomb a few times. However, this film can be just as gut wrenching as any Holocaust movie you've seen, because it's all about the people who planned it...and the fact they were just as human as you and me.

The fate of eleven million European Jews was decided over a meal by several higher ups in the German government (although not Hitler). Led by Reinhard Heydrich (played brilliantly, as usual, by Kenneth Branagh) and his aide (play brilliantly, also as usual, by Stanley Tucci) as they explain the plan. They explain it so simply, as if they're building a house, and in a very intellegent manner. In fact, it has to be explained at some point in the conversation that "deportation" is just a fancy word for murder.

Many of those present do not agree with the methods, but not because they have sympathy for the Jews. One somber delegate thinks the Jews should be removed from common society, but that murder is too extreme. Another delegate objects to the plan...but only because he feels the procedures Heydrich draws up will contradict his already enforced anti-semite laws. In the end, it is revealed how it will be accomplished: by none other than the gas chambers of the concentration camps.

Like movies such as "My Dinner With Andre" or "12 Angry Men" this movie takes a storyline built entirely on dialogue and proves it can be fascinating. These are characters that joke about sterilizing a whole race as if the Jews were animals, and the lack of music through out the whole thing (except for the ending narration) adds a good level of realism. I found myself watching this movie three times after I had rented it to closely study how the different characters interacted and treated this serious issue.

If you are interested in World War II, German history, the Holocaust, or you just like drama, then you will enjoy this movie. Some may not be able to watch it because of the subject matter, but it is definately worth your time. These are not propoganda style Nazis, nor are they charicatures of Hitler, but they are just ordinary people. ... Read more

Amazon.com essential video

This emotionally moving romantic drama was adapted by William Nicholson from his own acclaimed play, based upon the real-life romance (during the 1950s) between the British writer C.S. Lewis and a divorced American poet named Joy Gresham. Best known for writing TheLion, The Witch, and The Wardrobe, Lewis (Anthony Hopkins) is living comfortably as a respected Oxford don, his academic lifestyle a kind of shell protecting him from the emotional risk of love. Joy Gresham (Debra Winger) arrives at Oxford as an avid admirer of Lewis's writing, and the safety of his collegiate routine is quickly disrupted when Lewis realizes that he's fallen deeply and unexpectedly in love. Their courtship is uniquely engaging; he's shy and uncertain, she's outspoken and bold. But when Joy is diagnosed with cancer, Lewis's Christian faith is put to the test--he cannot fathom why their happiness together would be so drastically challenged. Together, they find a way to accept and honor the time they have shared together, and under the sensitive direction of Richard Attenborough, Shadowlands arrives at a conclusion that is both heartbreaking and uplifting at the same time. Hopkins and Winger are equally superb in this absorbing story of personal and spiritual transformation--a story previously filmed for British television in 1985, with Joss Ackland and Claire Bloom. --Jeff Shannon ... Read more

Reviews (85)

What Price Love?
This review refers to the DVD(HBO) edtion of "Shadowlands"...

With every viewing of this touching and true romance, I become more appreciative of what a fine film this is. Had I written a review after the first time I watched it, I probably would have gone 4 stars. The first time around, I really got to know C.S. Lewis and Joy Gresham thanks to the deep and moving performances of Anthony Hopkins and Debra Winger. After that it was joy spending more time with them, really getting to know their story, and taking in the magnificent work of Director Richard Attenborough and the photography of Roger Pratt.

The story is a bittersweet tale of a mid-life romance that is all to short. C.S. Lewis, the famous writer of children's stories, lives the quiet life of a proper gentleman. He's a professor at Oxford,devout Christian,set in his ways, never married and is repsected by all that know him.When Joy Gresham a divorced, Jewish, Communist, brash New Yorker, with a young son enters his world,things as he knows them are about to change.They develop a friendship and soon she starts to melt the icy wall he has built up around his perfect world. To the shock of all those that know him well, Lewis finally lets his emotions be a part of his life. It is only when Joy becomes terminally ill with cancer, that he realizes the full depth of his love for this woman and her son, and must learn to deal with the pain as well.

I can't think of anyone else who could be C.S. Lewis. Hopkins is a virtuoso. One look at his eyes and we know the depth of his feelings. Winger is an impressive of a match for him as Gresham was for Lewis. She knows how to grab your heart and keep it("Terms of Endearment"). I must also mention the talented young Joseph Mazzello who turns in a remarkable performance as Douglas, Joy's son. William Nicholson has turned his stageplay into a beautiful screenplay, and the music by George Fenton flows with the story.

The DVD is a nice presentation in widescreen, that takes in the splendor of the scenery and sights of England. The tech info here states that the sound is in Dolby Dig 5.1. It is not.(This appears to be the only edtion) The sound is in DD2.0 Surround, and although the dialouge is a little low, the surround sound is very good. Special features include a "Behind the Scenes Featurette" and excerpts of interviews with the stars, the filmmakers and a now grown Douglas Gresham.

The story is a true love story.Five Stars for one that reminds us that to love and to be loved is worth the price of the pain it sometimes brings......enjoy....Laurie

Anthony Hopkins is the (almost) perfect CS Lewis
This is the story of CS Lewis's life--at least, his later life. Lewis, the brilliant intellectual, the revered Christian apologist, the man who seemed to have answers to everything, was living a calm and adequate life with his brother Warren. All of that changed when an American woman named Joy came along. Suddenly, Lewis (Jack, as he's called) finds he does NOT have the answers, and that there has been something missing from his life all along. This film is a story of the love that Lewis found, lost, and found again.

This movie is well-made, and very accurate as to the period and setting. Anthony Hopkins's performance is stunning--he seems to fit Lewis perfectly. I have always had a picture in my mind of how Lewis would look and behave, and Hopkins comes about as close to my mental image as is reasonably possible.

That having been said, Debra Winger's acting is absolutely horrid. Her accent is bad, her mannerisms are annoying, and she is simply not convincing in her role as Lewis's love. Also, I did not like that the movie ignored such great friends of Lewis's as Owen Barfield and JRR Tolkien (even if these men played a less significant part in his later life).

I would have liked to see these men, as well as others, in the movie, but was disappointed. Despite these shortcomings, however, Shadowlands is a pretty good representation of Lewis's life, and you can't beat Hopkins's brilliant acting when he plays the Oxford fellow. If you're a CS Lewis fan, this movie is worth seeing.

Is it about Lewis?
The movie was done well. The cast was magnificent. The scenes of the Oxford Campus were beautiful. The story drew me in. However, it did not present Lewis very well. First, it presents Lewis as being rather naive about suffering. He kept giving the same sermon over and over and implies that did not really understand suffering. This is not so. His mother died when he was very young. He was a soldier in World War 2. His close friend, Charles Williams, died around this period of his life. Second, the movie left the viewer with the impression that Lewis left his simple Christianity and grew into a better understanding of the world. He truly suffered when Joy died as the book, "A Grief Observed" describes beautifully, but he did not leave the faith.

I like the BBC version better. It is closer to the original play.

I recommend the movie, because it well done. However, I do not recommend the movie as a way to learn more about C. S. Lewis. It is a beautiful, fictional love story.

TIMELESS, INTENSE ROMANCE WITH LOADS OF OLD-FASHIONED VIRTUE
You should certainly see Joss Ackland's version of this film, which was a BBC production and hence true to the original play etc. Come to think of it, you may also want to read the original play itself by Hanff (which is on my wishlist but I have not yet read.)

Nonetheless, the thrilling chemistry between Debra Winger and Anthony Hopkins is very, very hard to resist and I wholeheartedly recommend this supposedly "Hollywood" version. It's ranks for me in the same genre as "The Remains of the Day" and "84 Charing Cross."

To begin with, how immaculate the casting is: Debra Winger plays an uninhibited and witty American poetess, while Anthony Hopkins plays a reclusive British middle-aged scholar at Oxford.

They meet over tea. She is in a withering marriage, but in her bull-in-a-china-shop American fashion, she arrives like a fresh wind to rock his musty ivory-tower existence.

As the film progresses, her crudeness (only exacerbated by Winger's awkward NY accent) is soon peeled away to reveal a heart of gold and a life-affirming sense of humor. For instance, while escorting her around Oxford, Hopkins haughtily says, "I do not really go in for seeing the sights." In response, she says, "So what do you do, walk around with your eyes shut?"

Such sprightly but tender moments evoke the screenplay's stirring underlying message -- pain is an inevitable ingredient of love. If you are looking for a somewhat weepy but always warm and wonderful romantic film, this is one of the best you'll find.

the hollywood-ized version of an interesting love story
When I discovered this movie was being made I was so excited. Unfortunately I spent most of my viewing time thinking, it didn't happen that way and WHERE IS HER OTHER KID?!?

But, if you know absolutely nothing about CS and Joy Lewis' life together and know nothing much about CS and Joy Lewis at all, you will enjoy this movie. It is a well-made, Hollywood love story. The acting is excellent and the storyline is compelling. Just keep in mind that this is NOT how it really happened and PLEASE go read for yourself the true story.

Oh, yeah, don't forget the Kleenex. It's a three box-er. ... Read more

Reviews (199)

Probably the best movie about loving the movies
Rightfully known as a movie for people who love the movies, "Cinema Paradiso" ("Nuovo cinema Paradiso") is Giuseppe Tornatore's 1988 memoir of growing up in a small Sicilian town. A famous film director returns home for the first time in years to attend the funeral of an old man, but this bit of foreshadowing hardly prepares us for the depth of the tale. For the young Salvatore who is called Toto (Salvatore Cascio), the center of the universe is the local cinema and its projectionist Alfredo (Philippe Noiret). When we first see them together in the projection booth, Alfredo is editing out the kissing and other inappropriate scenes from a new film under the supervision of the local priest, Father Adelfio (Leopoldo Trieste) who rings a bell every time he finds something objectionable. The good father rings the bell a lot, to the dismay of the local citizens who bemoan the fact they have never seen a kiss on screen. Unlike most films featuring the cute kid and the grumpy old man, "Cinema Paradiso" presents the odd couple as kindred spirits from the very start. They both love the same thing: the movies. Even when the adolescent Salvatore (Marco Leonardi) discovers something else to love besides the movies in the form of a young woman named Elena (Agnese Nano), he is equally devote in his new obsession, standing outside her window for days in the pouring rain to impress her. Of course Salvatore loves not only the Cinema house but Alfredo as well, and when tragedy befalls them both he has to take his place in a new world while hanging on to the old. Finally, Alfredo has to kick Salvatore out of the nest and send him off into the world with the warning never to come back, because Salvatore's dreams will never be realized in the town of his birth. "Cinema Paradiso" is a film that captures both the pain as well as the joy of remembering the past. When the grown Salvatore (Jacques Perrin) opens up the gift left to him by the man who was much more than his father figure, we know immediately exactly what he has received. But that knowledge does not attract from the emotional impact of that glorious final montage.

One of the Best Films of the Last 20 Years
Guiseppe Tornatore's masterpiece proves for once, and for all, that you can indeed go home again. "Cinema Paradiso" is a timeless tribute to family, friendship and love as seen through the eyes of Toto, a filmmaker, who abandons his small town roots in search of that elusive "something more" in life. In a truly universal manner, Toto experiences success, failure, love and emptiness prior to the film's beautiful finale in which life's true meaning becomes clear to him. The childhood relationship between Toto and his father figure Alfredo, a projectionest at the local cinema, is the centerpiece of the film. Their ensuing lifelong friendship is simply priceless. The legendary Ennio Morricone's unforgettable score provides the perfect emotional backdrop . Overall, "Cinema Paradiso" is a stunning film that works on all levels. A word of warning: even the most macho of all macho will have trouble holding back tears during the film's remarkable final 15 minutes. Not to be missed!

Only one word that pops out when watching this: NOSTALGIA!!!
To make it short, this is the one and only movie that makes me cry every time I watch it. It's the kind of movie that melts your heart and keeps you thinking about it for days ahead. Also, I've never heard a soundtrack as beautiful as the one in this movie. It only helps bring out your tears more easily, especially in the last sequence.

A passion for film and filmmaking
I have not seen the "new Director's cut" version, and based on what the other reviewers have been saying, I'm so very glad. This movie has always had a special place in my film heart.

The theme of love has never really been so subtly and wonderfully dramatized. And the love is on so many levels: love for the opposite sex, love for filmmaking, love for family, love for one's hometown, etc. The plot is deceivingly simple and traditional but there are elements that are very unique. What particularly appeals to me isn't just the developing relationships among the main characters, but the relationships going on among the townsfolk. The extras are not anonymous here: all the patrons of the Cinema Paradiso have a slim storyline that are quite amusing. (In one sequence, a young couple are kissing. Next time we see them they're doing something more than just kissing. By the end of the film, they have a family in tow.)

Anyway, the story aside, CINEMA PARADISO is so gorgeously filmed, it's so pleasing to the eye that it's almost unbearable. This is a film for lovers of film and filmmaking.

Stay away from the director's cut
Cinema Paradiso is one of my favorite movies ever. This review is about the director's cut, it just ruins the whole movie. If you loved the original movie, don't watch this new version.

Cinema Paradiso is mainly a love story. But it's not about the relationship between Toto and Elena, it's about the relationship between Toto and Alfredo. The new version turns the whole move upside down. Not only the plot, but the characters too. Elena becomes the most important part of the story. And the character of Alfredo becomes a completely different person through the eyes of Toto. I don't want to give away anything about the "new" plot. But believe me, the director's cut and it's brand new 51 minutes changes the whole movie into -what a critic said, "mundane soup opera." ... Read more

Reviews (396)

Certainly a work of art
Yes, everyone gushes about this movie, so I'll try to keep it less so. Roger Ebert once said "When anime fans say how good the film is, nobody takes them seriously." Ouch, but he is right. When looking at this movie, don't view it as "anime," that catch-all word that congures up images of creepy teenage girls, neverending fight scenes, and poorly dubbed movies. Rather, view this as an animated movie about an aspect of WWII that we don't always think of.

It seems brining up the topic of this movie results with two knee-jerk reactions. A) This is an Anti-American movie where Americans are blamed for all deaths in Japan while ignoring Japan's role. OR B) An indictment of America for killing these two children, and a call to avoid war at any costs.

The first is a poor description of this movie due to the movie's elements. Americans are almost never mentioned, save as the pilots of the inhuman planes that fire-bomb the villages. The movie instead raises questions that many should be able to ask: who was at fault? The Japanese people for refusing to help these children? The aunt for expecting too much of a 14-year-old boy traumatized by his mother's death? The Emperor of Japan refusing to surrender when he was obviously defeated? Seita for having too much pride? The Americans for retaliating after Pearl Harbor? Or, as I wonder if the movie suggests, that when people are dying of starvation, politics and finger pointing cease. The movie spends almost zero time blaming a set of people for Seita and Setsusko's situtation (interestingly, the only "bad guys" there seemed to be in the movie where people like the farmer who beats Seita for stealing his crops). When people are set in a blame-first mentality, it's refreshing to see a movie that has little of this pop-culture quality. Because of all of this, the 2nd Knee-Jerk reaction to this movie ("I'm sure Bush had a hand in this!") is incorrect as well.

Overall, everyone else has done a good job of describing the basic content of this movie, so I won't repeat it all. However, this movie is recommended for those who want to see the power of an animated movie that is usually not done in the US. The characters of Seita and Setsuko are so well done (I don't think I've seen a 4 year old portrayed that real in a long time) and strong that you can't help but have a sinking feeling in your gut everytime you know something is going to happen to them. Most notable, Setsuko is not a stereotypical cartoon child. She cries wildly during the night -supposedly due to bad dreams about the war, she refuses the food that could keep her healthy, and plays around her cave with an utter disdain for the war going on around her. There are no cutesy catch-phrases to sell Burger King cups by. By the end, the wasting away of the characters is a very difficult things watch. In the end, I didn't cry (I'm bad at this, I rarely cry at movies), but was still speechless for a few hours afterwards. This is not a movie to watch if you are emotionally unstable at the moment or prone to depression. But, you will be moved. We are fragile.

Moving. Hits on many levels. Perfect
I have never reviewed a film on Amazon but I am compelled to because this is such a fine one. I did not expect, what I feel to be one of the most eloquently told and moving stories, to come in animated form.

Sure, I've seen almost all of Miyazaki. My kids love them and I love, for instance, the playfulness of Totoro and how Kiki finds her self confidence. And then there is the technical brilliance of, say, Spirited Away.

But Takahata's Grave of the Fireflies is a cut above. It shattered me emotionally, yet somehow uplifted me spiritually. I don't see it as a sad movie, devoid of hope, as someone wrote here. It is a beautiful tragedy with a message to tell. It is a film for adults and it hits on many levels and I am still seeing meaning in it after three times viewing it.

The hope comes from the love of the brother and sister for each other and their dignity. Despite their many hardships they are, with a few exceptions where Saita completely breaks down, well mannered. Meanwhile, everyone they meet cares only for themselves, or at least shows a rude ambivilance towards the two. The contrast is incredible. Yet, judgement is not passed upon them. It is left to us to judge. Nor is judgement passed on the enemy, whom the closest we get to, is seeing them as they streak overhead in their bombers.

Also, the hope is shown by the "spirit" Saita and Satsuko who shadow the real characters at important crossroads in their lives and in the very last scene as ghosts watching over modern Japan.

But the movie is not about Japan or World War Two or even War itself. It is about compassion and the human spirit. As a film, it is most like Schindler's List and the same emotion and depths of emotion I felt in that movie I feel with Fireflies. Everyone should see this movie.

Grave of the Fireflies. A masterpiece of the creative form
Ever since I became a writer somewhere around 1996 or 1997, I've had an intense fascination and desire to create things that touch readers, whether through saddness, fear, or happiness, because I think that when a piece, either written or on screen, touches you emotionally, it leaves a lasting impact on you that can lead to a better understanding of the world around you, and even possibly yourself as well. I think that as a creator, this is the greatest achievement one can reach, and I have the utmost respect and admiration for anyone who accomplishes this very thing which I so eagerly wish to achieve.

"Grave of the Fireflies" is the sad tale, based on the semi-autographical book "Hotaru no Haka" by NOSAKA Akiyuki, which tells of the author's experiences during the aftermath of World War II, in which he lost his little sister to malnutrition, for which he blamed himself.

In "Grave of the Fireflies," 14 year old Seita and his 4 year old sister Setsuko lose their mother after the Allied forces bomb their village. Their father is in the Navy and at sea, and hasn't been heard from in a long while. Without going through the entire plot, suffice it to say that the story is a moving and frightening look back at the lives of two young children who should never have to face such horrors at their tender ages. The tone and mood of this heartwrenching piece is set from the very first scene, when Seita utters the fateful words "September 21st, 1945. That's the day that I died."

Before watching "Grave of the Fireflies" I'd heard that it'd been referred to by many, like movie reviewer Roger Ebert, as one of the greatest war films made, and after watching it, I have to agree. Only a person with the emotional depth of a gnat or the heart of block of wood could watch this film and not feel the emotional power of it. It's the kind of story that lingers in your consciousness long after, and forces you to see the true face of war, the REAL consequences and victims of the violence we seem all too quick to inflict upon each other these days. And the most incredible thing about this movie is its subtleness, its complete lack of political propaganda or any attempt to try to blantantly force a moralistic ideal down the viewers throat. Director Isao Takahata shows supreme trust in the story itself, choosing to use the beautifully illustrated film to portray the tale in all its moving glory.

In Japan this movie was shown in schools as an educational piece. I don't know if this has been done in America, but I think that it should. We need to learn to understand the entire spectrum of war, and on an even more basic level, we just need to teach our children the lessons of empathy and compassion so that when they find themselves in positions in which their decisions impact others, they'll take care to consider the consequences before making those decisions. I also think that every world leader should be forced to sit down and watch this film over and over until its message is ingrained into the nooks and crannies of their brains, because it often seems that compassion and empathy are qualities sadly lacking these days.

ONE OF THE BEST FILMS OF MY LIFE (AND THE MOST SAD)
(I'm sorry but my english is not very good.)

I've seen this film some days ago, and now i continue thinking about the story of this film.

I felt love, happy, sad and pain when i watched the film.

The history is about 2 children that are in the middle of the War in Japan (WORLD WAR 2) and they have to survive without parents and without money.

Only i tell you that I have NEVER cried so many like in this film.

You must to see it!!!!!!!!

pd1=I think that should be obligatory to view at school.

pd2=I'd like that all governings of the world watched this film.

pd3=I recommend it for people older than 14 or 15 years. (It's too sad for the children)

A Sharp and Bitter Taste of Tragedy
What a tremendous achievment. It is rare for a film with this kind of scope to be politically and nationally nuetral, just showing what it was like to live and die in a horrific time as World War 2. No finger pointing saying that it was the American's or the Allies' fault. No blame on their native homeland of Japan. Just the chance to watch and even feel the senslessness of war, poverty, inhospitality, and the worst result of any war, just or unjust, death. And one of the most amazing aspects of this film is that it is a cartoon! But after watching for only five or ten minutes you don't remember that its a cartoon, you are immersed in the real world, surrounded by people just trying to survive, even though the animation struck me as being very Hanna Barbarous.

To truly convey the sense of immenent tragedy and hopelessness throughout the entire film they have the opening scene showing Seita (one of the main characters) die and his spirit reunite with that of his sister's, Setsuko, whereupon we watch the rest of the film as Seita remembers the events unfold around them. Right away we know that whatever they go through, whatever good or bad happens to them, Tragedy is lurking somewhere, waiting to strike.

Personally, from then on, almost every scene was heartbreaking, but none more so than watching the slow degeneration of his sister's body trom malnutrion, but thankfully not her spirit. This is not to say they were all harsh. There were a few scenes that were just centered around the joy of being alive, but even then there was always something to remind us of what was going on around them. I was as happy as they were getting to watch them run down the beach and into the ocean, or seeing them chase fireflies outside of thier aunt's house, but the best time for me was their first night alone in the cave, and to help his sister to not be afraid, Seita helps Setesko catch a bunch of fireflies to light up their darkened abode. Seeing the wonder and enjoyment on her face was almost enough to bring me to tears after all the previous emotional despair. And it was then extra sad to see them wake up in the morning to dead fireflies and then taking the time to dig them a grave. Very touching.

This young girl, while visibly suffering, was generally more prone to have fun and let her attention be diverted. You can see this come to its fufillment when Seita gives her a bite of the watermelon, and she uses her last words to say that it tastes good. No complaints about the pain she is obviously dealing with. No crying out to her brother that she doesn't want to die. Just a simple way of saying thank you to her brother. In this same scene we also see how much Sieta truly cares for Setsuko. After giving her the bite of watermelon, he generously sets a piece on her chest, and the rest within easy reach. Instead of breaking his fast with her, Seita selflessly rushes outside to start the rice cooking, more for her than for himself. In his rush to meet her needs he doesn't even realize that she has said her goodbye to him, and she dies while he is in the act of helping her in the only way he knows how.

Another heart rending scene is after she dies and we see a rememberance of how she played and tried to help take care of their small live-in cave. Seeing all that innocence shown so purely in the face of a child in the midst of war moved me to tears and made me thankful to be a father of a similar aged little girl.

This is a movie that truly stays with you and changes how you look at things. Normally after watching a movie I will read, write, or socialize with my wife of friends for awhile. Not so after this one. I went to bed deeply impressed by what I had seen. I awoke the next day thinking about it. I had one of the most mellencholy days that I have ever worked because I was in a constant remeberance of it, trying to soak up all the lessons in it, as I knew I would not watch it again for a long while. It was almost twenty hours later that I finally picked up a book again, a long time for me. And even now it is still right there, beneath the surface of my normal thoughts. Just writing this review brings back vivid scenes.

One last thought about the movie. As other reviews have said, it was upsetting to see the way their aunt treated them. She basically drove them out of the house in all ways short of actually telling them to leave. But one cannot really blame her for her actions. Sure she was being selfish. But she was also living in fear. It really was taxing her family's resources having them there. There wasn't much to go around.In these kind of circumstances most people will try to hold onto everything, becuase you might not survive if you have to share your meager things with others. She shared with animosity and disaproval of their every action because she had no ideathat giving out of Love and a desire to help your fellow human will bring you more back in return.

My final words are watch this. Even if it is hard for tuo to see, or brings up things you thought were past, watch it anyhow. You will be better off for it. Personally I would not recomend letting children view this though. Let them retain their innocence while they have it. War, pain ,and death are not pretty sights, but even less so for our young ones. ... Read more

Description

One of the greatest films about film ever made, Federico Fellini's 8 1/2 (Otto e Mezzo) turns one man's artistic crisis into a grand epic of the cinema. Guido Anselmi (Marcello Mastroianni) is a director whose film-and life-is collapsing around him. An early working title for the film was La Bella Confusione (The Beautiful Confusion), and Fellini's masterpiece is exactly that: a shimmering dream, a circus, and a magic act. The Criterion Collection is proud to present the 1963 Academy Award® winner for Best Foreign-Language Film-one of the most written about, talked about, and imitated movies of all time-in a beautifully restored new digital transfer. Disc two features Fellini's rarely seen first film for television, Fellini: A Director's Notebook (1969). Produced by Peter Goldfarb, this imagined documentary of Fellini is a kaleidoscope of unfinished projects, all of which provide a fascinating and candid window into the director's unique and creative process. ... Read more

Reviews (78)

We invent ourselves endlessly!
1. Federico Fellini. Sensitive, vulgar - il maestro.
2. Saraghina - beauty and repulsion just a few jiggles away.
3. Sandra Milo is dimples dangerous and blessed.
4. Marcello M. as Guido Enselmi, loveable hypocrite.
5. Guido's father moaning about his burial arrangements.
6. A little fantasy in reality or a little reality in fantasy.
7. Claudia Cardinale carrying mineral water.
8. Crappy musical inspired by film. How many movies claim that honor?
1/2. The spaceship - masculinity/identity in progress of going up or coming down?

The "close but no cigar" portion of the list:
Terry Gilliam carries on about how scenes in this movie have influenced his career (see no.2); Nino Rota's music, brilliant as always, probably should have been included in my top eight list; DVD extras - especially lost gem A DIRECTOR'S NOTEBOOK; boring commentary; when this picture first opened in Italy, the anticipation was compared to the excitement over a new Rossini work in his time; Fellini was like a fish in water when it comes to film design and invention - a true master; It moves at its own pace and logic, critics be damned; Fellini was brilliant because the people who worked on his films were equally brilliant - the best in their respective fields; the whip-master fantasy, I can actually agree with the impulse behind that one; it's an epic about one man's over-sized ego - what a wonderful subject to create a brilliant film about! The perfect movie for a century that has been incredibly affected/effected by the ideas purported by the science of psychology. Fellini had stated he was a great admirer of Carl Jung's work, and it is no surprise he would take up that banner.

If you can, check out CITY OF WOMEN - another film by Fellini that works on a similar logic, but takes it several steps beyond what he did with 8 1/2. Ciao!

Life is our greatest invention!
1. Federico Fellini. Sensitive, vulgar - il maestro.
2. Saraghina - beauty and repulsion just a few jiggles away.
3. Sandra Milo is dimples dangerous and blessed.
4. Marcello M. as Guido Enselmi, loveable hypocrite.
5. Guido's father moaning about his burial arrangements.
6. A little fantasy in reality or a little reality in fantasy.
7. Claudia Cardinale carrying mineral water.
8. Crappy musical inspired by film. How many movies claim that honor?
1/2. The spaceship - masculinity/identity in progress of going up or coming down?

The "close but no cigar" portion of the list:
Terry Gilliam carries on about how scenes in this movie have influenced his career (see no.2); Nino Rota's music, brilliant as always, probably should have been included in my top eight list; DVD extras - especially lost gem A DIRECTOR'S NOTEBOOK; boring commentary; when this picture first opened in Italy, the anticipation was compared to the excitement over a new Rossini work in his time; Fellini was like a fish in water when it comes to film design and invention - a true master; It moves at its own pace and logic, critics be damned; Fellini was brilliant because the people who worked on his films were equally brilliant - the best in their respective fields; the whip-master fantasy, I can actually agree with the impulse behind that one; it's an epic about one man's over-sized ego - what a wonderful subject to create a brilliant film about! The perfect movie for a century that has been incredibly affected/effected by the ideas purported by the science of psychology. Fellini had stated he was a great admirer of Carl Jung's work, and it is no surprise he would take up that banner.

If you can, check out CITY OF WOMEN - another film by Fellini that works on a similar logic, but takes it several steps beyond what he did with 8 1/2. Ciao!

A CONTROVERSIAL MOVIE.
Frequently, the name or label "Art film" is given to a movie that presents innovative techniques, an experimental narrative, abstract and ambiguous characters, complex dialogues...and slow pace, with complicated scenes, so complicated that the audience doesn't quite know what's happening, sure you can say a theory or what you think might be happening, but in the "Art films" sometimes even the director can't give an accurate explanation. Anyway, since "8 ½" presents all those elements, "8 ½" is an art film.

Federico Fellini's cinema is one of the most mysterious and influent styles at the same time, modern filmmakers such as David Lynch owe a lot to the italian director. With "8 ½" happens something very interesting, there are a lot of scenes that are almost incomprehensible, but they are very interesting to see, because since the movie offers few explanations, the audience must be thinking most of the time, trying to solve the puzzle, so "8 ½" requires an active audience.

The cast is very good, the obvious mentions are Marcello Mastroianni and the gorgeous actress Claudia Cardinale. "8 ½" presents some of Fellini's trademarks: there are a lot of surreal scenes that look like a complicated Dream, or a Nightmare if you wish. The use of the camera is very artistic and groundbreaking. And the pace is slow.

The thing with the "Art cinema" is that for some, it's the only way of cinema that really counts, and for others the art cinema is just a pretentious way to call a slow and boring movie. I choose not to be in any of those extremes, I rather be in the middle because to me "8 ½" is a very, very interesting movie, worthy of study and analysis, but sincerely I think that Fellini did better movies, like "La Strada" or "La Dolce Vita".

Anyway, "8 ½" definitely is not for fans of the "American Pie" trilogy or the Adam Sandler's comedies. "8 ½" is for lovers of the cinema in its more artistic expression.

Fellini's fragmented masterpiece of an internal crisis...
The prominent film director Guido (Marcello Mastroianni) finds himself overworked, harassed, and fatigued in all aspect of being. Guido is sent to a health spa where he is supposed to recover from his stressful life, but instead is continuously pursued by people around him, by his past, and by his conscious. The people around Guido are either dependent on him, desire his company, or merely try to advertise themselves in his presence. In order to cope with a large number of people Guido has developed a social dance where he is able to circumvent or approach the individuals of his choosing. This dance is also Guido's way of dealing with life and its complications, which affects him physically, psychologically, and socially.

8½ fragmentally displays Guido's life as he dances between reality, dreams, and memories in the developmental stage of a film production. This cerebral dance helps him to avoid what is deemed as uncomfortable as he escapes into his memories where he can find some joy and peace. However, Guido often reminds himself of how his past sometimes plagues him as he can recollect deep memories of discomfort and guilt. These negative emotions lead Guido into an internal crisis where he struggles with his decisions in the light of moral judgment that is heavily weighted by his Catholic upbringing. Despite the internal crisis, the dance continuous as Guido is compelled to flee his painful memories by seeking company outside of his marriage as he seeks self-affirmation when he is alone. The cheating provokes further guilt which urges Guido to remain dancing as he escapes into a dream world where he attempts to unify memories with the present where his consciousness sets the rules. But to Guido's dismay he finds the dreams forcing him back into reality as his dreams rebel against himself. This is due to his conflicting ideas that are simultaneously rejected and approved of in order to find temporary happiness and please those around him. In essence, it is Guido's denial of his own lies that is the root to his guilt and unhappiness.

Fellini's 8½ is a cinematic masterpiece, which encourages analytical and artistic thinking as it dives into a dense fabric of inventive imagery. Vividly Fellini paints Guido's moral crisis onto the silver screen, which offers a surreal cinematic experience as it drifts between reality and dreams. In addition, 8½ shows Fellini's profound understanding of human psychology, which possibly could have been based on himself. The fragmented story line enhances the visual feeling of the stress that Mastroianni's character experiences as well as developing a deep understanding for his mind. The opening shot where Guido dreams of being enclosed in a smoldering car stuck in traffic displays Fellini's true cinematic genius as he develops an image of panic, anxiety, and fear. This visualization is something that can be discovered in every film that Fellini has directed as well as his trademark of having a circus-like atmosphere. 8½ has everything of what makes it a Fellini film, which offers a unique experience that could only have been accomplished by a true cinematic artist.

Best Movie About the Artist
I saw 8 ½ (1963) for the first time on South Street in Philadelphia at the old TLA theatre. I was in my mid-twenties and liked the big-breasted women. Saw the movie again yesterday at the Colonial in Phoenixville, PA, a wonderfully restored small town theatre, and reentered the world of the great director Federico Fellini. The cast consisted of Marcello Mastroianni (mid life crisis of the great director), Claudia Cardinale (the perfect woman), Sandra Milo (the chesty but dim lover) and Anouk Aimée (the ordinary wife he cheats on).For Fellini, 8 ½ continued a trend away from the realism of his early movies to a surrealistic view of his own life. The film has a simple premise. The great director has no idea what his next movie is about, while his producer and film company wait for Mastroianni to tell them what the movie is about. It does not help that Mastroianni falls in love with every woman in the cast and every woman he ever knew. The famous harem scene is near the end of the movie, where all the women in his life await his every whim. The older ones get banished upstairs. When the women revolt, he gets his whip and regains order. The women love him again. Oh, irony, but in Surrealism, Freud reigns supreme and dreams are a wish. I rate 8 ½ one of ten best movies ever made. ... Read more

Description

In the wake of the Bomb, ex-soldier Shozo Hirono [Bunta Sugawara] joins a Hiroshima yakuza gang, the Japanese equivalent of the Mafia–and then the shootings, slashings, betrayals, and scheming begin.Premiering a year after The Godfather, The Yakuza Papers also broke box office records and spawned sequels, but, in contrast, took a ruthlessly de-romanticized view of the underworld. Based on an actual gang boss's memoirs, The Yakuza Papers plunges the audience into a gritty, brutal, violent newsreel of a three-decade struggle for power of Shakespearean complexity, a nihilistic epic unlike any other. ... Read more

Reviews (42)

The BEST Movie!!!!
I cannot stop telling everyone how much I LOVE this movie. I have been watching Hindi movies since I was born basically, and Devdas has to be my favorite movie EVER. Shah Rukh Khan plays Devdas(Deva), the son of a wealthy landowner in 1930's India. Paro, played deflty and amazingly by the ever beautiful Aishwarya Rai is his neighbor of slightly lower caste. The story revolves around the tragic love of these two characters and the love of Chandramukhi (played by Madhuri Dixit), whom Devdas inadvertently meets while trying to drown out his sorrow over losing Paro. EVERYBODY, Indian or not, MUST see this film. The acting is incredible, the sets and costumes beyond breathtaking, the background score simply perfect, the musical numbers placed appropriatley to mesh completely with the film, and the direction flawless. Even the opening credits will take your breath away. Whatever you do, you cannot miss this film. Trust me.

Powerful love story
This is my first time watching a foreign film and I can tell u I CANT PRAISE IT ENOUGH! I was told about this movie from a friend ... BUT I am glad 100% he told me about it! For a girl that only had been exposed to AMERICAN MOVIES, seeing this movie I was at first skeptical and hesitant about it but I cant say enough of how powerful it is. It pulls u into the web of love between Deva (Devdas) and Paro. YOU will LAUGH and CRY!! It's such an IMPACT on a person. Its a MUST SEE! AHHA I JUST LOVED IT!

OH. MAN. WOW.
If you don't like sad endings, you'll somehow manage to save a place in your heart for this spectacular tragedy. I'll tell you up front, it's a massacre of emotions at the end. You will cry. You will think yourself unable to bear watching this movie again.

And then you remember the cute little song at the beginning. You watch that. Then you skip forward to the powerhouse dance number, "Dhola Re". Then you catch the awesome dance just before the half-time intermission. And then... you start over and cry through it all one more time.

This movie will haunt you. Aishwarya Rai and Shah Rukh Khan start off powerfully enough, but then Madhuri Dixit starts hoofing and before you can say, "Didn't she play a prostitute in that movie?", you're whipping out your copy of Munna Bhai MBBS to check out the freshman hazing scene to see how they match up with Aishu and Madhuri.

BUY THIS DVD. It will kick your butt and paint you purple with pleasure. Way more than that Linkin Park CD you were considering purchasing as a doorstop. Worst case, you got an exotic Indian doorstop, but I think not. Get over it being in Hindi and BUY IT! Then buy all the other movies with Shah Rukh in 'em. Except Ye Lamhe Judaai Ke. That one reeked. How it got released is another story. THIS ONE IS AWESOME! FOCUS ON THIS MOVIE, FOOL MORTAL!

There are better movies
Devdas is a lot like any other indian movie. A farfetched love story, weak plot, and stupid acting. The characters can be clearly defined under a catagory of good or bad. Sharukh Kahn's acting is predictable and sappy. Aishwariya Rai's acting seems to lack in depth. As for Madhuri, she sticks to her usual routine of smiling and acting innocent. The jewelry,clothing and decor is lovely. However if you notice, in the song DOLA RE DOLA, the curtains are off center. On the plus side, the songs are absolutly magnificent, with great choreography (esp. in DOLA RE DOLA). If u really want to watch a good indian movie, I suggest Hum Dil De Chuke Sanam. It's beginning may be cheesy, but the ending is magnificent.

Not the Best Devdas movie!
There have been 3 Devdas movies made (to my knowledge) and this certainly is the worst of all 3. Although this one features musical sequences which are more livid than any you'll find in the previous Devdas movies, directing and acting makes this film unbearable after watching it once. Yes, after convincing myself to watch through the entire movie I felt betrayed and asked myself "WHY???". So, still many people will love this movie for Shah Rukh Khan, Aishwariya Rai and Madhuri Dixit. However, in my opinion all three turned in the most horrible performances of their career here. The best acting performance of the movie comes from the veteran Jackie Shroff who plays the friend to obnoxious Devdas character. If you're not too much into indian movies and watch them occasionaly I will ask you to watch movies called Bazigar, Anjaam and Darr. And when you compare the acting by SRK from those with the one here, you will see how bad an actor he really is. Extremely one dimensional and extremely boring after years of "shockingly" similar acting performances.

I suggest you get the musical pieces from this movie, which by themselves are pretty lavish and good. But if you really want to get a feel for Devdas you should torture your eyes to the Black & White version starring Dilip Kumar (aka Yousuf Khan). ... Read more

Amazon.com

Like The Gumball Rally (1976) before it, former stuntman Hal Needham's The Cannonball Run was inspired by the same real-life cross-country road race. If The Gumball Rally was the critical favorite, The Cannonball Run was the box-office favorite (spawning the almost-as-successful sequel, Cannonball Run II, a few years later). Aside from top-billed stars Burt Reynolds and Dom DeLuise (stars of Needham's Smokey and the Bandit series) plus Dean Martin and Sammy Davis Jr. (as horny priests), the movie features many of the same actors (Bert Convy, Jamie Farr) that could be found on a typical '80s episode of The Love Boat (along with the same caliber of writing). But as the tagline notes, "You'll never guess who wins"--and it's true. As in most road-race movies, it's the journey that counts, not the destination. This particular journey includes cool cars (like Adrienne Barbeau's black Lamborghini), crazed bikers (led by Peter "Easy Rider" Fonda), hot martial arts action (from Jackie Chan as a Japanese racecar driver), a conspicuously braless Farrah Fawcett (recipient of a Golden Raspberry nomination for her performance), and possibly the most egregious use of product placement featured in a movie up until that time (one vehicle has "GMC Trucks" noted prominently along the top of the windshield, another has "Hawaiian Tropic" painted on the hood). As with many of the films Jackie Chan has made for Golden Harvest, the Hong Kong-based production company behind The Cannonball Run, wacky outtakes are included during the closing credits. --Kathleen C. Fennessy ... Read more

Reviews (53)

They defnitly dont make em like this anymore!!!!!
Growing up watching two of Hal Needems best movies "Cannonball 1 & 2" and "smokey and the bandit 1, 2, 3" Ive mayured into realising that they just dont make them like this anymore! As said during the commentary, the script was no "gone with the wind" but who cares? These movies are for fun. And its great to see so many actors get together and have a great time making this fun, funny, action, car race accross the USA from sea to shining sea!

With such a great cast, its somthign you dont see too often with the amount of actors that where put into this movie! Burt Reynolds, Dom DeLuise, Farrah Fawcett, Dean Martin, Sammy Davis Jnr, Roger Moore, and so many other great cameos and actors in this film! Including the introduction role to introduce Jackie Chan into the American market! This was Jackies first English speaking movie!

This whacky car race accross the states, involves some of the best stunts caught on film! Hal Needham sure knew what he was doing when he put this classic together!

Unfortunalty it dosent come with much of a bonus feature selection, theres an Audio Commetry with a couple of insighfull things about the movie. And the usual cast and bio thing. But it would have been great to see deleted scenes, but they probably dont exsist anymore? but that dosent drag this great fun for all action ride!

I recomend you buy it with Cannonball 2. As I think Cannonball 2 is one of the rare seaqulls that was just as great as the original! And if they ever release Speed Zone (known as Cannonball Fever in other places) I'd recomedn getting that one too!

If you like whacky ,over the top, crazy, action, comedys with alot of great stunts with vehicles, then this is the top of the list for anyones collection!

Fast paced and funny from sea to shining sea.
In this first movie to actually carry the word "Cannonball" in the title, was penned by the genius of Brock Yates, who in 1971, organized and raced in the first "Cannonball Run." Burt Reynolds in his comedic element as "J.J. McClure" who decides to make this trip to California in the guise of an ambulance driver. At his side, is Dom DeLuise who occasionally drifts out of reality when the going gets tough into a self-contrived super hero named "Captain Chaos."

Other stars joining in the challenge are Dean Martin and Sammy Davis, driving a Ferrari dressed as priests.

Adrienne Barbeau and Tara Buckman provide some stimulating appearances as Marcy and Jill in a Lamborhini that looks somewhat like Darth Vaders personal space ship.

There's an hillarious fight scene towards the end of the film featuring Peter Fonda and Jackie Chan that will keep you smiling for days.

Even after twenty years, still wonderfully refreshing and entertaining. Don't miss it. :)

CAN'T COMPARE WITH "The Gumball Rally".
I bought this movie on DVD because it was on sale and "The Gumball Rally" DVD was no where in sight (because it's not on DVD). I have never seen this movie until now but having watched I would happily take my $8.00 back if offered.

The best part of the movie is the opening session, one sleek black Lamborghini tearing up the road. The rest is ridiculous and corny.

More emphasis should have been placed on the cars rather than the actors, actresses, and corny stuff. "The Gumball Rally" did a better job with two lovely cars and serious acting mixed with just the right amount of comedy; not corny and ridiculous antics.

Scenes of beautiful actresses in this movie are nice but who needs it if there are beautiful cars and who wants to see an ambulance go cross country, that killed me. Buy "The Gumball Rally" instead if it ever comes out on DVD. If you still have a (soon to be antique) VHS player then your lucky and can buy it now.

If you really want this movie though buy my copy for four bucks so I can take back 50% of my loss. It's only been used once and I won't use it again.

I am Captain Chaos!
Well seeing this for the first time has changed my alter ego to "him" AKA Captain Chaos on the IRC. Too bad the two good looking chicks didn't get more time though.

The second movie was so so the chimp making phun of people was kinda dumb..will there be a third? who knows.

/me gets a captain chaos costume a bunch of friends ready to drive cross country (with cameras) walla Cannonball Run 3.. Fort Walton Beach, FL to Hawthorne, CA.

(It would be fun)

-
Rob
--

http://www.robfwb.com

They dont make movies like this anymore
Whatever happened to movies that were just plain FUN?

This is a hilarious movie that never gets old, despite the fact that it was released in 1982. Big name starts (at the time) Burt Reynolds, Dom Deluise, Sammy Davis Jr., Dean Martin, Farrah Fawcett, Terry Bradshaw, Mel Tillis, Roger Moore, Jamie Farr, and...some unknown guy named Jackie Chan, all race against each other in The Cannonball Run, a race from sea to shining sea.

This movie is way better than its sequel, the Cannonball Run 2.
Fans of Smokey and The Bandit, also starring Burt Reynolds, will love this movie for the cars, the women, and the laughs. Buy this movie! ... Read more

Reviews (110)

Cast better than inept direction
While I don't have a problem with new interpretations of Shakespeare, I didn't find this all that new, just confused. Updating Shakespeare is also fine, if it serves a purpose, or at least doesn't interfere with the story, but those bicycles were ridiculous, and simply not funny. There was no point of reference, no reason for them to be there, no punchline. Likewise with Helena and Hermia's little mudbath...generally, the direction was absolutely horrible. The film is quite entertaining though, thanks to some very hard work from some of the cast. And that does not mean Calista Flockhart and Michelle Pfieffer (C.F. is grating, and M.P. obviously not comfortable with the text). It means Kevin Kline, Stanley Tucci, and Rupert Everett among the stars, but especially to some of the secondary characters: Anna Friel as a grounded Hermia (mud bath excepted) Sophie Marceau as an actually likeable Hyppolyta, and the great Roger Rees, as the most memorable Peter Quince I've ever seen. The music is gorgeous, and the scenery is nice, although having actually taken the trouble to go to Tuscany, Hoffman decides to film the magical forest on a really horrible, cheesy, creaking sound stage. Watch it for the cast.

Ah the Tuscan Hills!
Wow, what a great movie! But of course if you're a traditionalist closed to new interpretations, lock yourself back in your room with your Turner Classic movies. And if you've never had an English class where you liked Shakespeare or if you've never read and enjoyed an Elizabethan comedy and/or tragedy, forget about this movie. The language will just confuse you too much.

But if you can get past your conservative views and are open to the language, then watch A Midsummer Night's Dream.

I think that after five hundred years, it's amazing that these plays are still around and can generate such mainstream attention. I also feel that after that long, a fresh adaptation is more than welcome, especially if you've been subjected to the less than glamorous BBC version.

I felt that the setting (the Italian Athens you've never heard of) and anachronistic props (bikes with lights) actually lend to the farcical quality of this movie. It is a comedy and it is supposed to be funny, so lighten up and enjoy the fantastic performances of Michelle Pfeiffer (my FAVORITE Fairy Queen), Rupert Everett (fairy king--pun intended?), Kevin Kline as Bottom (he makes an Ass of himself--heehaw), and the myriad of other wonderful actors and actresses that breathe life into an old play.

And before you take offense to a director's interpretations, you might inquire as to the reasons for them before you denounce his movie. And if you really want the Bard's opinion, Joseph Fiennes could probably give it to you.

All good things, JOE

Not perfect, but certainly worth watching
To make Shakespeare accessible, you have to make it entertaining. Not just entertaining to those who already know and love his work, but entertaining to those who have never picked up a Folger edition of anything in their lives.

I teach English to teenagers. Teenagers, who gasp in horror at the mention of Shakespeare. Teenagers, with their 30 second attention spans, faulty grasp of the modern English they supposedly speak, and affection for the physical comedy of the likes of "Jackass."

So, how do we make teenagers like Shakespeare? We edit. So, naturally, some of the best speeches are missing or drastically shortened (remember, 30 second attention spans); the physical, often silly humor is accented; and the women mud wrestle. So what?

This movie is entertaining. At times, it is enchanting. It is fast-paced, visually interesting, and funny. The emphasis is shifted away from the complexities of the language because it is the language, the very thing we love about Shakespeare, that makes these plays inaccessible to the majority of the American movie audience.

I use this film because it is easy to understand. The actors have faces my students recognize, and it gets them excited about Shakespeare.

What this film does is to put the content of the play within the grasp of its modern audience. Shakespeare himself would have done no less.

An occasional dream
One of Shakespeare's most beloved works finally gets a modern cinematic makeover, good news for all of those who'd rather not see Mickey Rooney's Puck again. Unfortunately the latest retelling leaves much to be desired. Though mostly enjoyable, this film could use a good shot of fairy dust.

The story concerns three sets of lovers - Hermia and Lysander, Helena and Demetrius, and fairy royalty Titania and Oberon. The first pair loves each other but cannot marry because Hermia is betrothed to Demetrius, the object of Helena's desperate affection. When Hermia and Lysander steal away, the second couple makes chase and all four end up lost in the woods where our third pair, the quarreling fairy king and queen, reside. Oberon, dissatisfied with all about him, enlists his servant, Puck, to make amends. Puck is to place a spell on Demetrius so that he will fall in love with Helena, but a case of mistaken identity causes Lysander to become smitten with her. Meanwhile, a traveling actors troupe, led by Nick Bottom, stumbles into the woods for a late-night rehearsal. They prepare a play for the Duke's wedding and soon become the object of the fairies' mischief.

With the shell of Shakespeare's original, this movie pulls of adequate amounts of wit and humor; clearly the script is better than most. Despite Puck's much abbreviated role, it remains a light comedy and surreal and magical in every sense. The costuming, makeup, and Italian backdrop add to the enchantment and are some of the most enjoyable aspects of an aesthetically pleasing film. I loved the energy of Monte Athena in turn-of-the-century Italy (punctuated by a soundtrack of renowned operatic talent), although it added little to the understanding of the story or the updated time period.

My main qualm for this otherwise fanciful retelling is the distracted acting, which ranges from inspiring to embarrassing. Shakespeare's language, archaic by our standards, depends on talented actors and directors to lift it and his beautiful stories from obscurity. Kevin Kline proves that you don't need an English accent to perform Shakespeare effectively. His Nick Bottom is the most rounded character in the film, wholly human and rich with emotions thick enough to dip your fingers through. Anna Friel's Hermia acutely defines the play's romance and innocence. Along with Kline, she seems the most comfortable in her role and possesses a grace and naturalness absent from the other female characters. Dominic West gives an amusing and (sometimes) smitten Lysander to Friel's Hermia. I also liked Roger Rees' affectionate Peter Quince. The remainder of the cast spirals downward. Calista Flockhart as Hermia and Michelle Pfieffer as Titania appear uncomfortable and rather unsure of their characters, as if they are too afraid of fouling up the Bard's work to dig deeply into it. Rupert Everett's Oberon is tired and melancholy to a point of boredom. I am still trying to figure out why David Strathrain, who lacks the nobleness of his character, was cast as the Duke. Poor Sophie Marceau should have stuck with Mel Gibson. Though I would not have picked Stanley Tucci for Puck, he provides a slightly amusing if ineffectual performance, as does Christian Bale as Demetrius.

Because of the spotty acting, the film never gels completely. An unfamiliarity with the play by certain actors interrupts otherwise fluid scenes. Those who act well in this film make it worth watching; the others leave us wanting more.

Kline and Flockhart shine!!!
3.5 stars. This is a moderately enjoyable Shakespearean comedy with only two stand-out performances. Calista Flockhart, of "Ally McBeal" fame, shows here that her range and understanding of the poetic language of Shakespear is both impressive and fluent. She steals every scene she is in. Speaking of scene-stealing, Kevin Kline, a veteran of the stage and Shakespearean theater, has the best performance here. He hams up the goofyness of his character and makes him ultimately hilarious and endearing. Many of the other actors are merely okay. Michelle Pfeiffer, often a great actress, seems to struggle here. She sounds like she understands iambic pentameter well, but fails to emote any feeling behind the words; except for her scenes with Kevin Kline, she is simply mediocre. Also, the character of Puck, played by Stanley Tucci, is traditionally portrayed as more mischievous and problem-causing than the lap-dog of Oberon as he is portrayed here. All in all, this is certainly above par, with great costumes and fine sets and scenery. It just doesn't come together as a whole. This film is fun in moments, but eventually feels incomplete. ... Read more

Reviews (25)

bizarre metaphor for family life
wow. this movie really got to me. the first scene in the film establishes the depths of immoral and distastefulness that follows. opening with an intense scene where a man makes love to a young prostitute, then finding out who the prostitute is really strikes a nerve in you. the plot follows with almost no sense and no taste but presented with great acting and great direction. it's basically revolves around a family that each member has their own sick and twisted problems. normally in any other hollywood/american film you'd encounter only one of these problems [or some problems not at all] but all wrapped up together brings it together to produce a very interesting family. a visitor [i'm assuming 'visitor q'] enters into the situation. although i felt his actions weren't as impactful and uplifting as it should've been he still brought the whole family together in a well... less than wholesome way. with his violent and bizarre and intimate solutions, he teaches the lesson that "families should stick together under any circumstance". and trust me, some circumstances are incredibly messed up. this movie is one of those movies where you'll find yourself saying after many scenes "wow, i didn't think i'd ever see something like that in a movie" but then you'll be found laughing over it. it is disturbing, but really if you're like me and you watch a lot of these over-the-top movies it'll still shock you but not in a 'irreversible-rape-scene' kind of way.

great flick, way more enjoyable and stimulating than 'happiness of the kitakuris'. takashi miike is awesome.

The horrors of family dysfunction
When the outside world fails us, whether it's dealing with a crap job day after day or a love life that goes nowhere or rejection in various forms we often turn to our family. For many of us the family is a safety nest, a sanctuary of saneness where we can escape the pressures of every day life. That's why films dealing with the disintegration of the family unit have been so shocking and unfathomable to me. What happens when even our family nest is destroyed and all that we thought was dear is shattered to pieces? I have seen some pretty disturbing cinematic examples in the past, most notably "Cutting Moments" and "Combat Shock" that had me asking the question what if, could this ever happen to me and my family? Takashi Miike takes the concept of family dysfunction to new extremes with Visitor Q.

Visitor Q examines a Japanese family with more problems than you could shake a stick at. The movie opens up with a young prostitute and a middle-aged man engaging in intercourse in front of a home-video camera. Throughout the act, the man keeps expressing remorse and doubt about what he is doing. Remorse for what, cheating on his wife? Nope, turns out the prostitute is actually his daughter. After this disturbing act that lasts not long, the lady taunts her own father with cries of "early bird!" and charges him 100 000Yen for the act, way more then he can afford. No problem, the girl says just give the rest of the sum to mom once you have it. Incest is the first of many atrocious acts committed by this family. Throughout the course of the movie the viewer is submitted to various scenes of necrophilia and domestic violence. Most bizarre is the young teenaged boy who continuously whips and beats up his mom, a crack addict and herself a prostitute. Mom doesn't seem to mind too much though and even encourages the boy to beat her up even harder as long as it's not on her face.

Visitor Q has a cheap Snuff-film kind of look to it and I wouldn't be surprised if Miike had filmed this with an 8mm camera, it certainly looks that way. If Miike's sole intent with Visitor Q was to shock the viewer with as many outlandish images as possible than this can be considered a success. However, I found this film to be quite lacking on an emotional level. The family and their disturbing actions are presented in such a hollow way that the viewer doesn't even feel any sympathy towards them. The family members themselves seem to be quite satisfied with their current lifestyles. There is only one exception in the form of a scene where the young woman who works as a prostitute sits on her bed in her room and holds a stuffed animal in her hands. There is a glimmer in her eyes that suggests that better days used to exist for her. It would have been nice to see fragments of the family's past so that we could answer the following questions: Has this family always been this screwed up? If not then what led them to become this way? What is the purpose of them holding a video camera and wanting to tape all of their atrocities? Miike never bothers offering any answers.

Visitor Q works well as long as it's taken strictly for what it is intended to be: a piece of exploitation filmmaking. It doesn't challenge on any emotional level the way Audition does, it's just a forum to throw as many shocking scenes in the viewer's way. Or is it perhaps meant as a social commentary on the ever-increasing absurdities of reality TV? Or a portrait of the changing dynamics of a Japanese society that has over the last couple of decades increasingly become attuned to the ways of the American models of entertainment and capitalism? It's open to our own interpretation but one thing's for sure, Miike never fails to shock or to challenge.

Takashi Miike AT HIS WORST
This movie was Garbage...I though Vistor Q was going to be great but instead I got garbage...Its stupid and yet disturbing...Trash....

Very bad...THis movies plot was just as stupid as the film...DO NOT GET THIS FILM!!!

-0000000/5 stars

The Worst movie I've ever seen
I must say, Takashi Miike; the director of this film is a very disturbed individual. I feel like this was made only to shock and disgust people. other than that, there's absolutely nothing to it. From a Japanese female point of view, I was very offended and disgusted by the story. This film is SICK - I would not recommend it.

jap cult classic
Beginning scene OK but annoying. First hour, not that impressed. Then, the last 45 minutes is F***in crasy. The director seems to put necrophilia, rape, murder, drug use, incest, and lactation all in the grand finale. This is a must have for Jap Cult Classic collectors if for anything, to watch people look at you funny, when you tell them about this Import movie you saw. ... Read more

Reviews (36)

Hayley in her element
Hayley Mills stars in the Disney thriller THE MOON-SPINNERS, a sinister and menacing story set against the dramatic backdrop of the island of Crete.

Nicky Ferris (Hayley Mills) and her aunt (Joan Greenwood) are travelling through Europe. Her aunt is a music historian from the BBC and is recording folk songs from the remote villages.

They travel into Crete, staying at the Moon-Spinners Inn, run by a kindly lady (Irene Papas) and her young son. However, some shady dealings are being done, with the owner's brother (Eli Wallach) heavily into astrology and smuggling.

Nicky finds herself thrown into a world of espionage and theft, and finds the love of her life.

Also featuring Pola Negri in a rare film appearance, THE MOON-SPINNERS is one of Hayley Mill's best Disney films.

EXCELLENT MOVIE
I first read the novel "Moon Spinners" by Mary Stewart and enjoyed the book thoroughly. When I saw that there was a movie based on the novel I was a little skeptical, but Disney usually does a great job so I decided to give it a try. If you like Trixie Belden, Nancy Drew and Hardy Boys mysteries, you will definitely enjoy this movie. Hayley Mills is wonderful as usual and the movie contains great suspense and mystery with just a touch of romance. I liked it so much, that I purchased the movie so that I could watch whenever I wished.

Now I want to go to Crete and have an adventure!!!!
The Moon-Spinners has to be one of my favorite movies of all time. Hayley Mills is the all-american girl....err...except for the fact that she's English (it makes no sense, but it is completely true). She gives a genuine performance and most girls can relate to her. I will not deny that this movie is completely cheesy, but it is all in the best way. This movie has everything; adventure, romance, drama, mystery, and is set in the beautiful isle of Crete. The love story is unique and original and will make you smile all over. This movie was acclaimed for being Hayley Mill's first onscreen kiss and I have to admit that it's a good one. I love how this movie embodies the essence of crete, with the beautiful beaches and little villages. I recommend this movie to people of all ages.

I love this movie, but...
I will not buy the DVD until I can get it in a W-I-D-E-S-C-R-E-E-N Edition!!! What good is beautiful Crete if it's panned, scanned,sliced, diced, and squashed? I want the whole picture, not 2/3rds!

Great movie! Full of exitment and adventure!
I think this is a wonderful movie that can be seen again and again! The acting is very good and there are some exiting moments to add suspense.
Hayley Mills and Peter McEnerny are both exellent in their roles and the acting of Irene Papas and Eli Wallach was also very good. You should get this movie and watch it with your children, it will be a great experience! ... Read more