Reviews (36)

Perfectly hilarious sequel!
In "Addams Family Values," the jokes are funnier, the story is much more enjoyable, and the characters are more developed and easy to follow. The original cast is back for another round of gags and comedy, while the writers and director Barry Sonnenfield have chosen to stick with a story that works with the gags and laughs instead of just providing an outlet for them. This is one of the rare sequels that surpasses the original; I loved this movie!

The movie begins with the arrival of baby Pubert, in a hilarious send-up of birth scenes with a twist: the mother-to-be enjoys the labor pains. From this point on, the movie goes into three different stories which lead into one another. One dives into the children reacting to the new baby, doing everything from dropping him from the roof to placing him under the guillotine. Their antics are relentless, which leads into the second story as Gomez and Morticia decide to hire a nanny, picking the good-natured Debbie Jilinsky to care for their infant son. Fester falls head over heels in love with the new nanny, who is actually a murderess out for his wealth and fortune.

Debbie's suspicions that Wednesday and Pugsley know too much leads into the third story, as she has them shipped off to summer camp, where the sun and cheery attitudes of the campers and counselors are enough to make even the audience cringe in fear. As Debbie carries out her devious plans, the children are put through the hells of the camp until they can take it no longer, rounding out the movie's comedic climax with laughs galore.

Like the previous film, the original cast remains intact, with the exception of Grandmother Addams. Raul Julia and Anjelica Houston reprise the roles of Gomez and Morticia, whose romance is put on a back burner from its vivacity in the first film, allowing most of the story to rest on the shoulders of Wednesday and Pugsley, once again played by Christina Ricci and Jimmy Workman. There is a lot more to their characters as they make their way through the treacheries of camp: Wednesday has matured into a much fuller character, while Pugsley remains childlike and naive. Fester, played by Christopher Lloyd, is shown as a hopeless romantic who honestly thinks his appearance has nothing to do with his inability to attain a female partner, while Debbie is played excellently by Joan Cusack, who knack for comedy and colorful phrases make her a uniquely comedic villain.

The contrasts abide within the story of Fester and Debbie and the trysts at summer camp. Fester's unconventional ways become trying for Debbie to live with; try as she might, she's still a "normal" human being. Wednesday and Pugsley's camp experience provides a sharp contrast: their refusal to take part in the events at camp bring the counselors, who are complete airheads that reminded me of the ditzy girls in high school, to the edge of losing it, but instead, they are forced into a place known as the Harmony Hut, where they are subjected to Disney films and Brady Bunch reruns.

In some ways, these contrasts could make the movie a social satire of sorts. The ways in which one character's lifestyle is compared to that of another are fascinating, and while the Addams are highly unconventional, the remaining characters from the real world are in no way considered normal. So the movie poses us that very question: "Who's to say what is normal?"

That said, let's move on to the story, which is highly better than that of the original movie. This one actually produces the gags, having the feel that the story was written before the laughs were. The original had the feel that all the laughs were tossed into the air and placed in random spots, which would work because the gags never seemed attached to any specific storyline. Here, the comedy comes from the story, and the two work together marvelously at producing side-splitting laughs and subtle humor.

I couldn't help but enjoy myself while watching this movie. It made me laugh like I haven't laughed in a long time, while also keeping the characters intact and convincing. Sonnenfield has done a terrific job in creating this sequel, which is definitely the better of the two films.

Better than the Original.
After when Uncle Fester (Christopher Lloyd) finds back his memory from the end of the first film. When an mysterious nanny (Joan Cusack) comes into the lives of the Addams Family. When Mortica (Angelina Huston) and Gomez (Raul Julia) has thier thrid child. When Wesnesday (Christina Ricci) and Pugisy (Jimmy Workman) wants to get rib of thier new born baby brother. While the childern are sent to Summer Camp. When the nanny used Uncle Fester to marry him and kill him for his money. But she is having a hard time to kill Uncle Fester.

This film feature a over the top Comic Performance by Cusack and Ricci, which they steal every scene, when they are On-Screen. One of the most underrated films of 1993. One of the best Comic Sequel around too. Director:Barry Sonnerfield (The Addams Family, Men in Black 1 & 2) give a better engery in this one than the Original. Grade:A-.

wensday ricci nuff said
this is a quickie sorry my computer went on me and @ the library here in dallas pa.this is great.ricci as wednesday priceless watch for mercades mcnab aka harmony of buffy and angel cya on the flipside and bloody kisses wedneday.

Even more altogether ooky than the original!
The other night the first "Addams Family" film was on local television, and in watching it I was reminded of how much I liked the show, and the films made from it - but as much as I loved the first, "Addams Family Values" surpasses it.

The storylines here are fuller; none of that a Fester who isn't Fester is really Fester stuff that seemed too scripted. Here, the 3 ongoing plots are more naturally-born from there characters:

Morticia and Gomez (Anjelica Huston and Raul Julia, the most perfect casting seen in film in some time) have just had a new baby. Dealing with new parenthood is bad enough, but when your two older children are doing their best to do away with their new baby brother ... well, even though he's pretty capable of taking care of himself, Morticia and Gomez have their hands full;

Then there's Debbie, played BRILLIANTLY by the underrated Joan Cusack, who comes to help with the children but instead is a notorious Black Widow-style murderess bent on marrying Fester and getting her hands on the Addams's fortune. Part of her plan in doing so is to get rid of the two older children, Pugsley and Wednesday, by sending them to a summer camp;

Pugsley and Wednesday are horrified by the cheery atmosphere at camp -- not to mention the caffeinated perkiness of the camp counselors, who are at times both revolted and ticked off by the 'weirdness' of the Addams kids.

All plotlines come together in a hilarious ending that remains true to the characters, and seems to come naturally from the story.

Christina Ricci (another of Hollywood's great underrated performers), as Wednesday Addams, again steals every scene she's in with ease -- her deadpan playing of Wednesday could not be more perfect. Watch for the segment where Wednesday and Pugsley perform their little scene from a play at camp; you'll wet your pants laughing! Joan Cusack is, again, brilliant in her portrayal of Debbie, the killer with a heart of stone.

In fact, the whole cast works perfectly together for this superior sequel, with enough one-liners and sight gags and twisted humor to keep you laughing from beginning to end. I didn't own either movie on DVD when I saw the first one on tv the other night (though had seen them both in theaters), but have since bought both ... though got this one first. So gather with your shawl on, find a roost that you can crawl on, and catch this great comedy -- a must-see for anyone in need of some good belly laughs!

I Thought My Family Was Weird
This movie is pretty much perfect. Anjelica Huston, Christina Ricci, and Christopher Lloyd excel in their performances as the most noticable of the family members. They know how to act in a dark comedy like this, where a mother might have to take away the knife her daughter is chasing the younger brother around with. And hand her an axe in replacement.
The movie has about three sub-plots. The first involves Morticia and Gomez, the parents, who just had a baby and are having to deal with all three of their children at once ( Wednesday and Pugsley, the children, are infatuated with disposing of the infant ).
While the children are plotting away, a nanny is hired. Her name is Debbie, played very well by Joan Cusack. Unbeknownst to the family, she is a criminal who marries rich men and then kills them, earning her a famous black-widow reputation. The second sub-plot involves her advances towards a relationship with Uncle Fester, one of the world's richest men.
The third sub-plot is Debbie's decision that Wednesday and Pugsley be sent to summer camp, which is basically the Addams's vision of Hell. Or Heaven. Whichever they like the least.
The movie is filled with hilarious one-liners and events, and the Addamses will charm almost anyone with their twisted, morbid lives. ... Read more

Reviews (35)

For a movie: BEST MOVIE Compared to book: NO CONTEST
I read 'Catch-22' first, and it instantly became my favorite book (as soon as I finally got through it). When I heard of the movied version, I was estatic, but in wonderment. How can such a complex book with no linear structure ever be adapted to movie form? My expectations were high, but weary...

First of all, casting was excellent. Alan Arkin played a perfect Yossarian, as well as Jon Voigt as Milo, and so on. The settings were great, really convincing from what I read from the book.

As far as the comparison to the book. If it stands true for one instance, the book is worlds better than the movie. As a reader, you get so much more out of Joe Heller's sardonic universe. The complex plot, the meticulous descriptions (in which he used words I never knew existed...either have a dictionary with you when you read 'Catch-22', or have a vast vocabulary!), and all the rest...

The movie does attempt to follow Heller's complex plot structure, hopping back and forth to unravel plot points with each pass. The movie does this well with Yossarian's epidemic with Snowden. Most of the ingeniously clever dialogue is brought to the screen, but that's what makes the book/movie so great.

At any rate, I highly recommend this movie, as well as anything from Joe Heller...the best writer of the 20th century.

an excellent dvd
"Catch-22" is a beautifully designed, shot and executed movie that, in the end, doesn't really work. However, it's too elaborately staged and too ambitious to be considered a "bad" movie. And the extra features that accompany the DVD help the film transcend a "thumbs up/thumbs down" rating.

First and foremost, it looks amazing. I loved this film when I initially saw it on tape in 1990, but it was only recently that I was able to see it in a widescreen format -- letterboxing reveals what a brutal disservice pan-and-scan does to the compositions of "Catch's" 2.35:1 aspect ratio. If you've only seen this movie in fullscreen, you haven't really seen this movie.

The transfer is also incredible. I'm so used to seeing the grainy print of my VHS copy that I hadn't realized how great a lot of the cinematography is. The use of front-projection during the air-combat scenes is astonishing and the detail and color really surprised me.

But the main reason to get this DVD is the commentary. Director Mike Nichols is joined by Steven Soderbergh to talk about "Catch-22" and through their discussion, one really gets a sense of how Nichols (who had just directed back-to-back hits with "Who's Afraid of Virginia Woolf" and "The Graduate") took on this project with the best intentions and inspiration... and quickly got swallowed up by the massive project and even bigger budget. Soderbergh is, in my opinion, one of the best directors doing commentary these days (he gives a perfect mix of technical details and storytelling) and he really knows his "Catch-22" ---though I find it a little incredible that he never noticed the changing portraits in Major Major's office, as he claims while watching the scene.

This movie is a great mix of Fellini, Laugh-In, Welles and Salvador Dali. Some may feel there's not enough Joseph Heller here but it would take a mini-series to cover all the bases of such a deep, rich novel. At times, this movie can try your patience (like most Catch-22's often do) but it's definitely worth seeing and hearing in this new format.

A change
I take back most of the things I said. This is a great movie, and Milo is good.

A good film that should have been better
First, I was upset to see that the Hungry Joe's character from the book was all but not used, and that he didn't even die because of the cat, but instead suffered Kid Sampson's death from the book. Now...

I do admit, this movie is better than I thought it would be. I'm especially happy with Bob Newhart's Major Major, the Chaplain, and Major Danby. My only problem is that many of the characters aren't portrayed to the best of their abilities, considering how well the book fleshed them all out. The best example is Balsom's take on Colonel Cathcart. In the book, Colonel Cathcart is prim, proper, and insane. In the movie, he is simply a crude, crusty old soldier, reminicent of Ernest Borgnine in "All Quiet on the Western Front." Though he is good when interacting with Dreedle. Orr is good in this, but maybe just a touch creepier than he should be. Milo is just wasted, and a little bland. Orson Welles is surprisingly good, but that is in direct effect of the good writing of his scenes.
Alan Arkin gets off to a slow start, but becomes very good as the film picks up speed. The Snowden films are great.

My main problem with the film, however, is that two very important characters from the book are completely and utterly not in the movie: Clevinger and Dunbar. Clevinger, while only in the first few chapters of the book, had a lot of very interesting things to say about Yossarian's behavior, and would have just been a good character to have. Dunbar, on the other hand, actually had a very large part in the book, serving as Yossarian's side-kick. He also delivered the classic monologue about boredom being the key to a seemingly-longer life. A great piece of writing that would have worked well with the rest of the film.
All in all, I suppose the main thing that would have made this movie better is an extra half-hour, so that more of the classic scenes could have been used. But still, surprisingly good.

It's not the book - what movie is?
I read Catch-22 many years ago. Loved it. I've seen Catch-22 the movie several times. Loved it. But they are different. You are not going to get every nuance of the complex, convoluted book into the movie, but it is a good approximation. The movie works on its own, mostly due to the collection of oddball characters and circumstances. The long list of big named actors did a good job. However, the cinematography may be the star, here. As an "anti-war" comedy, this ranks near the top.

The reasonably-priced DVD has a so-so commentary by director Mike Nichols with Steven Soderbergh. ... Read more

Reviews (60)

First Class Entertainment
I first watched this film on the television at Christmas in about 1982 (under the title "Dance Of The Vampires"), and even then, as a 12 year-old, was impressed by this superior vampire 'caper'. The film starts with a beautifully haunting score (by the late Christopher Komeda) and the arrival of a pair of intrepid vampire killers to a Transylvanian Inn. Throughout the film, the viewer is treated to a visual and musical feast, enhanced by brilliant acting from the likes of Ferdy Mayne, Jack MacGowran, Alfie Bass, and of course, Iain Quarrier as the token gay vampire! The enchanting qualities of Sharon Tate as the inn-keeper's young daughter, Sara, add to the overall enjoyment of the film; which, in my opinion, is easily the best vampire and/or Polanski movie to date.

A Comedic Rendition of Bram Stoker's "Dracula"
"The Fearless Vampire Killers" is producer/director/screenwriter/actor Roman Polanski's comedic rendition of Bram Stoker's "Dracula" legend. The bumbling Professor and his timid assistant Alfred (played by Roman Polanski) travel to Transylvania to study vampires. The Professor and Alfred rest at an inn festooned with garlic. That evening, the innkeeper's daughter (played by the *stunningly beautiful* Sharon Tate) is kidnapped by the Count (played with a characterization combining elements of Christopher Lee and Peter Cushing). The distraught innkeeper (played with a Zero Mostel characterization) runs out into the night to rescue his kidnapped daughter and never returns alive. The Professor and Alfred seek the Count's castle. The Count invites the Professor and Alfred to stay at his castle and to study in his library. The Professor and Alfred agree, they learn that the Count and his flock are planning a formal dress ball, and the real fun begins ...

This film's scenic vistas and its theatrical sets are impressive -- they are complex, ornate, and convey a somber atmosphere. And Sharon Tate's beauty is impressive -- previously an unknown actress, this film gave general public recognition to Sharon Tate. Roman Polanski was involved in *all* aspects of this film's production, and his quality touch is visible throughout the film.

It is ironic that this film's plot revolves around Sharon Tate's kidnapping by the Count and his flock. After this film was released, Sharon Tate and her real life friends were murdered in their home by members of the Charles Manson family.

Not his best
... when u compare it with Rosemary`s Baby, Repulsion and Frantic. But it DOES have its moments... What really saves this film is the music by Komeda, choreography by Norwegian Tutte Lemkow, the scenary, the make-up, the off-key characters, Sharon Tate and the costumes... Too often u find yourself wondering what-the-heck this is all about and why doesn`t Polanski move a bit faster into the action??? Still; it`s watchable and I`m glad that so many have found it to their hearts:-)

A Timeless Classic
This is one of my all-time favorite films. I first saw this movie as a young girl and never forgot it. I was thrilled when I found it on VHS years later and am now excited about owning the DVD. This film is a mixture of an early silent film and a Laurel & Hardy-type comedy. Our "fearless vampire killers" keep getting themselves into tight spots and then must work to get themselves out again. The sets are terrific, especially the castle. You can get wrapped up in this film, it won't bore you for a minute. It's a subtle spoof of a vampire movie keeping the thrills while adding comic relief. A must-see and a must-have.

A Vampire Classic
Late one night many years ago I had the pleasure of watching the great Roman Polanski vampire film. Now, many years later, I have added the complete and uncut edition to my collection.

This tongue-in-cheek begins with Professor Abronsius and his assistant (Polanski) arriving in Transylvania. The professor, who has one of the silliest mustaches of all time, is researching the legends of vampires. He is convinced that they really exist and that he can eliminate them. Shortly after their arrival it becomes apparent that there are indeed strange creatures about. All of the evidence convinces the professor that his suspicions are correct.

When the inn they are staying in is hit by a vampire the two journey to a bleak castle. There they encounter the local lord, who is a vampire. The lord and the professor hit it off quite well as both are men (ahem) of learning. During the day the professor and his assistant search for the vampires tomb. They find it but are unable to dispatch the creatures and wind up losing all of their tools in the process. Then night falls.

With the fall of night the two become targets and must avoid their vampiric hosts. then they make a startling discovery. There are more vampires in the castle than just the lord and his son. There is a graveyard filled with generations of bloodsuckers. As the vampires hold an annual ball at which they will feast on a number of locals, the professor and his protégée manage to make off with one of the victims and successfully flee into the night pursued by a hunchback sledding in a coffin.

The film then ends with a very dark note. The woman they have saved makes the complete transition to vampire while they are fleeing and she bites the young assistant. It is in this way that the bumbling Professor Abronsius enabled vampirism to spread out of Transylvania into the rest of the world.

This edition restores the twenty minutes that were cut out when the film was first released in America. This is an unusual film in that much is communicated through action. The dialogue is rather sparse throughout. But with the almost exaggerated actions of a silent film combined with a haunting score result in a richer movie than had it been full of dialogue. The special effects, what few there are, are quite effective and possibly more effective than current effects. In one scene the vampire killers and the woman they are trying to rescue are leading a dance at the ball. The procession advances towards a mirror and only the three are reflected although dozens are in direct line. Spectacular. The rest of the film uses small dashes of comedy to season an otherwise dark story. This is a true classic among vampire films. If you have not seen it you should. ... Read more

Reviews (93)

"This is where they touch their uninspired little organs."
The infamous "Pink Flamingos" is the John Waters film that first drew attention to his warped talent, and it is probably the film for which he will be remembered. Divine (Glenn Milstead) is in top form and stars as the "filthiest person alive," Babs Johnson. Babs lives in an abandoned trailer somewhere near Baltimore with her perverted son, Cracker, and her deranged mother, Edie, the Egg Lady. Edie (Edith Massey) lives in a giant playpen inside the trailer where she consumes large numbers of eggs while dressed only in her underwear. Miss Cotton (Mary Vivian Pearce) forms the other member of the Babs Johnson gang.

Meanwhile, Raymond and Connie Marble (David Lochary and Mink Stole) operate a black market adoption agency from their disgusting cellar. The Marbles covet Divine's title of "the filthiest person alive," and so Babs Johnson is their number one enemy. Babs, who is "forced to go underground" is sniffed out of hiding by a spy (Cookie Mueller), and once the Marbles know the location of Bab's trailer, "the battle of filth" begins.

If you like camp, then you may enjoy this film. The dialogue is amazing, and the film still has the capacity to shock more than 30 years after it was made, so be warned. If you are offended by the more mainstream films of John Waters (Serial Mom, Polyester), then don't watch this one, and if you've never watched a John Waters film before, "Pink Flamingos" is not a good place to start. I can't count the number of times I've watched this film, and I'll never grow tired of it. John Waters is my hero, and the humour in this film brings this fact home to me again. Waters juxtaposes real perversions (Raymond Marvel's "perverted urges," and the kidnapped women in the basement are two good examples of deviant, criminal behaviour), and puts these elements on an equal standing with ridiculous perversions--Divine and Cracker foul the Marvel's furniture by licking it, and consequently the Marvel's furniture rejects them. This juxtaposition of the truly perverted with the truly strange creates a unique comic twist. This film is not for the queasy or the faint-hearted. It is about revolting people doing revolting things. Don't miss the Marvel's underwear scene, please. The film also has a fantastic soundtrack that stands well on its own--even if you haven't the courage to watch the film--displacedhuman

The Original Trailer Tacky Barf-O-Rama
Like those who listened to radio reports about the attack on Pearl Harbor, every one who has ever seen PINK FLAMINGOS can tell you exactly where they were when they first saw it--and some thirty years later the movie is still one of the most unspeakably vile, obnoxious, repulsive, and hilariously funny films ever put to celluloid, guaranteed to test the strongest stomachs and the toughest funny bones. Filmed with a close-to-zero budget and some of the shakiest cinematography around, PINK FLAMINGOS tells the story of two families that compete for the tabloid title of "The Filthiest People Alive." Just how filthy can they be? Plenty: the film includes everything from sex with chickens to what I can only describe as a remarkable display of rectal control to a heaping helping of doggie doo, and I guarantee that you won't want to eat an egg for at least several weeks after seeing it.

The cast is either wonderful, atrocious, or atrociously wonderful, depending on how you look at it. The star, of course, is Divine... and to describe Divine as the BIGGEST drag queen on the planet would the understatement of the year. She is a mammoth creature given to BIG eye makeup, BIG orange hair, and BIG expressions--she is the Charleton Heston of drag, and whether she is almost running down a jogger, pausing to use the bathroom on some one's front lawn, or startling real-life shoppers by taking a stroll along a Baltimore sidewalk she is both unspeakable and unspeakably funny. Others in the cast include Mary Vivian Pearce, Danny Mills, and the ever-appalling Edith Massey as members of Divine's family; and Mink Stole and David Lochary as the white-slaving, baby-selling couple who challenge Divine's status.

It should be pretty obvious that PINK FLAMINGOS is not exactly a movie that will appeal to just every one, and viewers who know director John Waters only through such later films as HAIRSPRAY and CRYBABY will be in for a major jolt. But if you want to see something so completely different that even Monty Python couldn't imagine it, this is the movie for you. Just make sure you eat before you see it, because you probably won't want to eat afterward--and you might want to keep a barf bag handy just in case.

!! BRAVO JOHN!!
First and foremost, eithier you'll really hate or really love and appreciate "Pink Flamingos" - as is true with all of John Waters'work....But if you're looking for this soundtrack [Pink Flamingos] then you're a diehard Waters fan!!- or have really ecclectic taste in old music ! In either case, this is an awesome soundtrack.....And like his movies, it's campy, fun, and sort of surreal. I'm just dissapointed there's no soundtrack for "Female Troubles" - in my opinion, Waters' best film.....I've enjoyed All of his films -and the music that he selects for them. I hope more af his soundtracks are released in the future!!

Still schockingly hilarious after all these years.
In my opinion, John Water's movies have always been smarter on paper than most give him credit for. All of his work skewers the establishment was well as some of its offshoots and although intended to be shocking (in many instances just for the sake of being able to do so), my favorite moments generally involve the amazing Mink Stole and when John Waters in a very matter of fact fashion throws in something absolutely jaw-dropping as if it were just another scene.

On one hand you'll have people who will find Waters' early work to be too repulsive to watch and on the other extreme, you'll find others who worship his movies without any reservation and reject any critique as a sign that people just don't get it. My perspective is a little different as after watching Pink Flamingos, Female Trouble, and Desperate Living, my view is that while the ideas continue to be as fresh as they were made in the mid to late 1970's, his early work is much funnier when taken in little dozes rather than full length movies. Although, many may disagree I find Desperate Living to be his early best, while Female trouble is highly overrated. Pink Flamingos falls somewhere between the two.

There are scenes in Desperate Living that had me laughing so hard that I cried. In fact, the first half hour of the film is absolutely hilarious. Every scene involving Jean Hill who plays the hilarious Grizelda Brown and/or Mink Stole who plays the crazed Peggy Gravel, is a gag waiting to happen. There is a scene that takes place after something horrible happens (like I am going to tell you what happened) when Peggy is driving away with Grizelda that is worth the price of owning this movie. Said scene has Mink Stole going off like a madwoman regarding her hatred of nature, and it never fails to surprise me how funny she is. As happens with most of Waters' early films, it ultimately runs out of steam and starts relying too much on shock value and by now almost any Waters fan is hard to shock visually so it better be funny too. Desperate Living is my favorite early John Waters film, although many find it to be his most grim and depressing.

Female Trouble is one of the early Waters movies that most fans tend to like, and I just did not like it at all. Of course no John Waters film can ever be made without having hilarious moments, but they are far and few in between and I was mostly bored. Mink Stole as usual steals every scene that she is in and she does a variation on her "I hate nature" soliloquy from "Desperate Living," this time involving humans. Although I could not get enough of Edith Massey as the egg lady Pink Flamingos or as Queen Carlotta in desperate living, her role in Female Trouble made me feel for her as I was not laughing with her or could not bring myself to laugh at her. While she has her moments and awesome potty mouth, Waters (possibly without meaning to) takes her costumes to a point where you want to hug her instead of laughing. Divine has the opposite effect as the cruder and ruder that she is, the more that I loved her in this movie.

Pink Flamingos, which is Waters' breakout movie, without a doubt uses shock value more than any of his subsequent films. It is supposedly centered around defining who is the filthiest person alive in Waters' beloved Phoenix, Maryland. Since this was Waters' first fully realized early picture, he went for the jugular in trying to get away with as much gross out material as possible. The story, as is the case with Female Trouble, is not worth following and starts to get old quickly, but there are MANY scenes that will shock the numbest person alive. In many instances, the shock is not a bad thing as my motto is if it's funny, bring it on. Edith Massey as the egg lady is so funny that I can't help seeing her scenes over and over again. There are little touches as the manner in which Divine steals some ham, or apparently throwaway scenes involving dealing drugs and a baby selling ring, that are too funny to describe.

In a nutshell, I think that John Waters in hilarious and is responsible for some of the funniest movies of our time (as is the case with Serial Mom, just to name one), but these early exercises in guerilla filmmaking work better as boundary pushers than fully realized self contained movies. Those who enjoyed Jackass - The Movie, said movie would probably never have seen the light of day if it were not for John Waters, and although some may wish that such were the case, I for one think that Jackass - The Movie is one of the funniest movies ever. Part of that success is due to Johnny Knoxville not attempting to create a linear narrative or a storyline but intertwining bigger and smaller ideas just for the sake of making us laugh. Maybe it was not a choice at the time, but all of Waters' early movies would have worked much better with extensive editing and bypassing the narrative to focus on being funny.

I give Desperate Living 3.5 stars, Pink Flamingos 2.5 stars, and Female Trouble 1.5 stars. New Line home videos has released several two-packs of John Waters' films, but none that I know of that have Desperate Living and Pink Flamingos on the same package.

Five Stars For Its Shocking Value
I have watched the movie several times over, and it still leaves me feeling ill afterwards. I first heard of the movie in 1979, but was not allowed into the theater at the time because of its "X" rating, and I was only 17. In brief, after I finally saw the movie, it made me a John Waters fan. I can only compare him alongside with Andy Warhol. Both of these directors movies have a shocking, chilling value. Mainstream movie lovers would not like this film. I also recommend "Desparate Living" by John Waters. These movies are for seekers of something other than the mainstream, boring crap that is in the theaters nowadays. Don't eat anything before watching Pink Flamingos, or you'll be yawning in technicolor. ... Read more

Description

The Superbit titles utilize a special high bit rate digital encoding process which optimizes video quality while offering a choice of both DTS and Dolby Digital 5.1 audio. These titles have been produced by a team of Sony Pictures Digital Studios video, sound and mastering engineers and comes housed in a special package complete with a 4 page booklet that contains technical information on the Superbit process. By reallocating space on the disc normally used for value-added content, Superbit DVDs can be encoded at double their normal bit rate while maintaining full compatibility with the DVD video format. ... Read more

Reviews (246)

Brilliant, original, ingenious filmmaking
The first movie to tackle the internalized process of screenwriting, Spike Jonze's dazzlingly original film is also about biology, the need for passion, the inevitability of change and the absolute urgency of adapting to it. Kaufman's ingenious screenplay manages both to lampoon and confirm Robert McKee's asinine admonitions on Hollywood screenwriting - it breaks all the rules AND follows them - but it can do this only because it's constantly drawing attention to the process. It establishes its own terms of reference, it tells you how to watch it - and it works brilliantly. Other films do this, too, such as "Requiem for a Dream" and "Mulholland Drive". These films don't ignore "the rules" of screenwriting so much as invent new ones and take you along for the ride. "Adaptation" isn't as hilariously enchanting as "Being John Malkovich", but that's because this film is thematically more subtle and has a central character who is somewhat less endearing. Kaufman's crippling insecurity, as performed by Cage, is utterly palpable. The other performances are universally excellent, with Streep and Cooper deserving their Golden Globes. Clearly, Kaufman should win the Oscar for this script. He should have won it three years back for "Being John Malkovich". But the Best Adapted Screenplay category is awash with deserving potential nominees this year: "Insomnia", "The Hours", "The Quiet American", "Chicago", "About Schmidt", "Minority Report", "Road to Perdition" ... the list is almost endless. However, following the arcane logic of the Academy, they'll probably give it to "The Two Towers" (one of the worst adaptations ever written) because last year they incomprehensibly neglected to give it to "Fellowship of the Ring" (which, for my money, is all-time best).

"Don't say 'industry.'"
A second triumph for "Being John Malkovich" team Spike Jonze and Charlie Kaufman, "Adaptation." is a painfully funny look at the mechanics of inspiration, obsession, and ultimately, of course, adaptation. The film is based on Susan Orlean's bestseller "The Orchid Thief," and is about a screenwriter named Charlie Kaufman trying to adapt a book called "The Orchid Thief" for the screen. If that sounds confusing, it isn't. More verbally adept than "Malkovich," "Adaptation." manages to keep its head planted firmly in the clouds, giving the actors (especially Cage, in his best performance since "Raising Arizona") room to give us charming and even endearing performances, the lack thereof being "Malkovich's" main flaw. Most of the characters in this film are "real," including screeenplay seminar guru Robert McKee, Kaufman, and Orlean, though Kaufman and Jonze's verbal and visual trickery keeps us guessing. The real centerpiece here is Cage, who plays Kaufman and Kaufman's fictional twin (credited as the co-writer) with such a tender sense of brotherhood that the logistics of such a feat simply vanish. I found myself wondering if he would be competing with his own performance for an Oscar. An extraordinarily moving film.

The becoming cover up!
The absence of creativeness and the absence of absolute commitment , the desperation , the hunger for winning no matter how , the maquiavelian moods and the duality , the breakthrough in the personality of a human being metaphrically represented as twins invades this original script.
Obviously the movie always keeps a hidden card in your reservoir plot. The story is told through great narrative elipsis which overlaps one to another . This puzzle technique reminds us to Memento , in this sense. And Robert Altman 's style. (The player or Shorts cuts)
This smart use of two twins has been employed by other directors (Sean Penn in the indian runner , for instance) , but the resourec that keeps you in the seat is the richness in the second characters .
Since a no sense accidents shapes the life of a man , who tells his private life to a greddy writer, to inspire her , will be without knowing them the sparkling issue to exploid the dramatci nucleus .
The film certainly lost his fierce impact gotten in the first half of the film , seeking may be the critical gaze about the decay moral .
Good work for all the cast . Superb direction and extraordinary special effects ( the crash car in both cases)

uhhhhhh... no.
I guess I should've known better, being that I loathed Being John Malkovich, but I was pretty shlitzed when I hit the video store so what the hell.
So tonight I put on the DVD, only to find that the first minutes, while white credits are slowly getting gone through on a black screen, are occupied by a voice-over by Nicholas Cage, whining about his life at great length like a Woody Allenesque self-pitying slob. "I need to get my life back on track, gotta start running five miles a day, really do it this time, make it happen maybe I'll take up rock climbing I'm really in a rut...." This person has a severely neurotic personality which is not attractive in the least. Its at this point you begin to see what you're in for with this picture: a kind of more irritating, slightly more functional version of Rainman, only minus the card counting. The movie progresses from there to self-consciously daffy scene-making, where you get to see a band of guys ripping off an endangered orchid from like the everglades. A park ranger shows up and this orchid-stealing piece of white trash gives him some claptrap about how his associates are all American Indians and as such would be immune from prosecution for stealing the orchid, since they apparently have some special dispensation which states that they can do as they please on the grounds that they are inscrutable savages who should be left to their backward ways. You know, they use the orchid for some vague and hypothetical tribal type purpose that no white man should interfere with etc. etc. This is all supposed to be very entertaining. Don't ask me why.

Sublime Puzzle
I did not see Being John Malkovich. It was brought to screen by Spike Jonze and screenwriter Charlie Kaufman, but I will correct that error shortly. Adaptation is a Hollywood insider movie. Like Hollywood Boulevard with Gloria Swanson and William Holden, it takes you behind the scenes. This is a fictionalization of real screenwriter, Charlie Kaufman's bizarre difficulties with adapting a novel, Susan Orlean's real book, The Orchid Thief. A fictional brother was created for Charlie. Donald is the gabby and cheerful alter ego of morose and introspective Charlie, and Cage plays both. This is a nice turn for Cage because he gets to play the twin-opposites with amazing clarity. Charlie is the screenwriter that believes originality and cerebral acrobatics are the stuff of art. His brother, the wifty, Donald is writing a screenplay too. His Hollywood screenwriting guru, Brian Cox plays Robert McKee. The guru preaches formula. But Donald's script is accepted immediately and his success with the ladies is driving his brother crazy. Charlie's writers-block over the Orchid script paralyzes not only his writing but also his ability to love. Meryl Street plays the real life author Susan Orlean. The writer becomes passionately involved with goofball horticulturalist and adventurer, John LaRouche played by Chris Cooper. LaRouche risks his life to find the perfect orchid, a Conradian theme from Heart of Darkness. But if that orchid can be ground up into powder and snorted like cocaine to produce a state of perfect passion, then can we blame the addicted Meryl Street for loving toothless LaRouche? Then there is violence, car chases, and the sex scene. This is the real Kaufman being sarcastic, playful, and err formulistic. I once heard it said that there are only 24 plots available to the writer in human experience. ... Read more

Amazon.com

Pedro Almodóvar scored his first international hit with What Have I Done to Deserve This?, cementing his reputation as Spain's bad-boy director of darkly comedic melodramas. Many of the themes that dominate Almodóvar's later films are evident here, especially his sympathetic affection for downtrodden women like Gloria (Carmen Maura), an exhausted housewife who's addicted to No-Dōz tablets and spends 18-hour days cleaning apartments and tending (just barely) to her teenage sons (one deals drugs, the other offers sex to local perverts), neglectful husband, and looney-tunes mother-in-law--all of whom have a particular knack for getting on her nerves. Toss in a prostitute neighbor, an accidental murder, and a pet lizard named "Money," and you've got the makings of a soap opera by way of Luis Buñuel and John Waters, served up with Almodóvar's distinctive blend of compassionate humanity and kinky outrageousness. --Jeff Shannon ... Read more

Reviews (10)

Dark Humor Gives the Film its Edge
As a North American, one is subject to films which are essentially shallow, mindless and repetitious. Rarely is there a film that comes as a surprise. However, Qué he hecho yo para merecer esto offers a completely different cinematic experience. Pedro Almodovar's use of dark humor in Qué he hecho yo is what I found most appealing. The film takes a peek into the lives of the members of a poor working class family and explores their many problems in a tragic but comic way. The film opens with a shot of an enormous apartment complex similar to "the Projects" of the United States defining the films dark aspects and the tragic situation of the family. Soon, the close up takes us into the tiny apartment which is decorated in humorously bad taste, "kitsch". This allows the audience to relax and laugh as it reveals the film's dark humor. Furthermore, the film deals with subjects such as prostitution, child molestation, adultery, murder, drug addiction, and poverty. What I found most interesting was the way in which Almodovar manages to poke fun at these issues. A North American film would never even dare to mention child molestation unless it suggested that the criminal would end up dead, however Qué he hecho yo presents a mother who allows her young son to live with his homosexual dentist after he makes advances towards the boy at his practice. Interestingly, it is one of the films funniest moments. Hence, the film is truly a must see for anyone wishing to escape the monotony of American cinema and who enjoys an unconventional dark comedy.

"No-Doz" are caffeine pills
In Pedro Almodovar's fourth film "What Have I Done To Deserve This?" Gloria (Carmen Maura) lives in a tiny high-rise flat in Madrid which she shares with her boorish, lazy taxi-driver husband, Antonio, their two sons--one is a drug pusher and the other is a teen male prostitute, and Gloria's selfish mother-in-law who hoards her own supply of mineral water and cakes in a locked cabinet. Gloria scrapes by with a pittance doled out to her by her begruding husband, and she cleans homes and businesses to supplement their meagre income.
Gloria exists to serve and clean up for those she lives with, but underneath that harried housewife exterior boils a woman of passion--the film makes that clear very quickly, but will Gloria ever have the opportunity to be more than an unpaid maidservant? Gloria looks around at the four walls of her squalid tiny kitchen, and wonders how her life got to this point. She copes with her miserable, joyless existence thanks to an addiction to caffeine pills, but when she runs out of tablets one day, Gloria explodes.
Almodovar films always include deep friendships and loyalties between women, and "What Have I Done To Deserve This?" is no exception to this rule--Gloria's best friend and confidante is Cristal (played with great good humour by Veronique Forque). Cristal is a chatty prostitute who dreams of going to America. Her free-spirited ways are a threat to Antonio who can't really contemplate a woman like Cristal--a woman who may rent her body out temporarily, but she still remains owned by no-one. Cristal is Almodovar's prostitute with a heart of gold. She finds extra work for Gloria, and Gloria's friendship with Cristal eventually leads to trouble. Some of the best scenes in the film involve Cristal--her open approach to life is hilarious, and some of the scenes with her clients are priceless--the professor who is doing 'research' and the exhibitionist who needs more than Cristal to make up an adequate audience. This is darker than some of his later films, and the bleakness may prove difficult for some viewers to see the film. But the comedy is there--black comedy, but comedy nonetheless. The juxtaposition of the television romances next to the squalor of Gloria's real life are marvellously laced throughout the film. Keep an eye open for the dentist who wants to "adopt" Gloria's youngest son, Miguel. Due to themes and language ... this film is not for the kiddies

Classic Almodovar
This Almodovar classic from the early 80's is an excellent dark comedy. Great characters such as the next door prostitute, the little redhead girl with telekinetic powers, the cheap grandma, the impotent policeman, the gay dentist, the two writers, and so on make for an interesting watch. Many classic lines are found in this one, like the newlywed who gets her face burnt from her husband spilling coffee on her "I'll never forget that cup of coffee" and "I'm diabetic? oh, I always forget at dinner time?"
This film is not really driven by plot, but rather by the characters' lives. Like all Almodovar movies, it is a piece of art, a meditation and a comical look at life, sexual orientation, coincidence, destiny and love.

"Wouldn't happen to have a whip, would you?"
In Pedro Almodovar's fourth film "What Have I Done To Deserve This?" Gloria (Carmen Maura) lives in a tiny high-rise flat in Madrid which she shares with her boorish, lazy taxi-driver husband, Antonio, their two sons--one is a drug pusher and the other is a teen male prostitute, and Gloria's selfish mother-in-law who hoards her own supply of mineral water and cakes in a locked cabinet. Gloria scrapes by with a pittance doled out to her by her begruding husband, and she cleans homes and businesses to supplement their meagre income.

Gloria exists to serve and clean up for those she lives with, but underneath that harried housewife exterior boils a woman of passion--the film makes that clear very quickly, but will Gloria ever have the opportunity to be more than an unpaid maidservant? Gloria looks around at the four walls of her squalid tiny kitchen, and wonders how her life got to this point. She copes with her miserable, joyless existence thanks to an addiction to "no-doze" sedatives, but when she runs out of tablets one day, Gloria explodes.

Almodovar films always include deep friendships and loyalties between women, and "What Have I Done To Deserve This?" is no exception to this rule--Gloria's best friend and confidante is Cristal (played with great good humour by Veronique Forque). Cristal is a chatty prostitute who dreams of going to America. Her free-spirited ways are a threat to Antonio who can't really contemplate a woman like Cristal--a woman who may rent her body out temporarily, but she still remains owned by no-one. Cristal is Almodovar's prostitute with a heart of gold. She finds extra work for Gloria, and Gloria's friendship with Cristal eventually leads to trouble.

Some of the best scenes in the film involve Cristal--her open approach to life is hilarious, and some of the scenes with her clients are priceless--the professor who is doing 'research' and the exhibitionist who needs more than Cristal to make up an adequate audience.

While "What Have I Done To Deserve This?" isn't my all-time favourite Almodovar film, nonetheless, I do re-watch it from time to time, and it really is a great film. It is darker than some of his later films, and the bleakness may prove difficult for some viewers to see the film as a comedy. But the comedy is there--black comedy, but comedy nonetheless. The juxtaposition of the television romances next to the squalor of Gloria's real life are marvellously laced throughout the film. Keep an eye open for the ... dentist who wants to adopt Gloria's youngest son, Miguel. Due to themes and language ... this film is not for the kiddies--displacedhuman--www.Amazon.com Reviewer.

Great dark comedy
Almovodar's Best! (Terrible first date movie, however, with the opening sex scene). Humor along the lines of "Eating Raul". ... Read more

Reviews (264)

Absolutely Brilliant, Yet Creepy Satire
Splendidly acted and brilliantly directed, Dr. Strangelove is Kubrick's satiric masterpiece about the insanity of the Cold War Era and the silliness of the infamous military-industrial complex--i.e., militaristic war machine-- that seems hell-bent on destroying the world with its overblown paranoia and jingoism. After rumors of a supposed Doomsday Machine that the "Commie Rats" are developing, a general, Jack D. Ripper (Sterling Hayden), tricks 34 U.S. Air Force bombers into nuking the U.S.S.R. without asking the President's permission (played by Peter Sellers in one of three roles). Not surprisingly, he's a little touched in the head, as he decides to bomb Russia not only because of this device, but because he's obsessed with the idea of preserving America's "precious bodily fluids." (It's a long story, folks.) Adding to the mess is Joint Chief of Staff, Turgidson (George C.Scott, in a brilliant performance), who's as paranoid as they come and wouldn't mind helping Ripper take out half of civilization to save America from the evil Russians. (One hilarious scene has Turgidson confronted with the possiblity of killing millions of people because of Ripper's stunt. "So what if we get our hair a little mussed?" he says.) Also mired in the madness is another military man, the veddy British Mandrake (Sellers) who works under Ripper and tries desperately to get the insane man to give him the code needed to turn the planes back, but alas to no avail. The star of the movie, however, is the weapons scientist, Dr. Strangelove (Sellers again), a very bizarre wheelchair-bound ex-Nazi with a "trick arm" that can't stop doing the Seig Heil salute. (For trivia buffs out there, this character may have been an allusion to the very real Wernher von Braun, the rocket scientist for Nazi Germany who was recruited by the U.S. after the war.) Also doing a wonderful turn is Slim Pickens, the tough-talking cowboy and man in charge of the only bomber that fails to get the recall from Washington; the scene in which he rides a falling nuke to its destination is a cinematic classic.

What makes Dr. Strangelove so brilliant is that is able to straddle that line between reality and absurdity without having each side cancel the other out. On one hand, the performances are so over the top that you not only laugh, you sigh with the relief that this is, after all, *just* a movie. (A weird cat like Dr. Strangelove could never exist in real life.) On the other hand, there's something about the way the film is directed where there's an eery and creepy feeling that something like this *could* happen-- not with these zany characters, of course, but with saner people in similar circumstances. In the end, no matter how crazy people like Turgidson and Ripper may act, the bottom line is that their underlying beliefs are shockingly similar to what a lot of U.S. military personnel in a position of power to push the button feel like. But then again, that was the point of the film-- on one hand to make people laugh, but on the other hand, to wake them up to the dangers of the Cold War and an entity like the military-industrial complex, that-- if not kept in check-- could one day feel itself powerful enough to perform certain reckless acts without consulting Congress or even the President himself. All in all, a terrific film, and a complete thumbs up from me.

A Kubrick Classic.
U.S. Air Force General Jack D. Ripper (Sterling Heyden) goes entire and Utterly Crazy and Sends his Bomber Wing to Destory the U.S.S.R. He distrust that the Communists are Noted to Contaminate the Expensive Carnal Liquids of the American People. The U.S. President (Peter Sellers) meets with his Advisors, where the Soviet Ambassador tells him if the U.S.S.R. is hit by Nuclear Weapons, it will trigger a Doomsday Decive. Which will Annihilate all Plant and Animal Life on Earth. British Captain Lionel Mandrake (Also Sellers), the only person with access to the Demented General Ripper. U.S. President Merkin Muffley, whose Best Effort to Avert Disaster depend on Placating a High Soviet Permier and the former Nazi genious Dr. Strangelove (Also Sellers), who concludes that such a decive would not be a Cognizant Deterrent for Reasons which at this moment must be all too obvious. Will the Bombers be Stopped in Time or will General Jack D. Ripper succeed in destroying the world?

Directed by Stanley Kubrick (Lolita, 2001:A Space Odyssey, A Clockwork Orange) filmed a well made Black Comedy, feature an Impressive Cast including-George C. Scott, Slim Pickens and James Earl Jones. This film is Unique and It's gets better, every year. Oscar Nominated for Best Actor:Peter Sellers, Best Picture and Best Director:Stanley Kubrick and Best Adapted Screenplay by Peter George, Stanley Kubrick and Terry Southern. DVD has an clear Pan & Scan format and an Dolby Digital 1.0 Mono Sound. A well made that become a Classic. The Newest Edition from Columbia Home Video DVD has Many Extras. Grade:B+.

Oh for the days of the Cold War!
Every ideology that seems terribly important to one generation usually ends up seeming idiotic and even disturbingly naive to the following generation.

Think about it. The ideologies of the 18th century - dying for one's prince, duke or loot - seemed insane during the Napoleonic Wars, when nationalism became THE primary motivating factor.

"Pure" nationalism - like the extreme gung-ho attitudes at the beginning of World War I - seemed rather distasteful to the Allied forces in World War II, who fought to liberate peoples from Fascism.

The idea that Fascism would always endure, and was seriously in danger of taking over the world, seemed laughable during the Cold War.

How does the Cold War look to us today? The McCarthy era; Americans truly believing the USSR and the Communists were veritable Antichrists; truly believing that DESTROYING ALL LIFE ON THE PLANET was a feasible prediction about life in the near future; that the world was, always had been, and always would be, characterised by a fight between Communists and Capitalists.

*Sigh*

Dr Strangelove (or: how I learned to stop worrying and love the bomb) is actually MORE funny - and disturbing - in some ways now than it was before. Admittedly I can sort of understand the immense impact of this film - could ANY politial satire have been more timely - but the fact that the "better red than dead" ideology nowadays seems as ridiculous as fighting for your Duke, means that this film can be seen in a new light.

People actually believed that is was better to be dead than Red? (Yes they did). People actually believed fluoridation of water was a communist conspiracy??? (Yes, they did). The Russians actually contemplated building a Doomsday device? (Yes they did!!! Josef Stalin actually started research on such a device, which would have EXTERMINATED ALL LIFE ON THE PLANET for the sake of a politial dispute between Communist and capitalist that today seems absolutely laughable!)

The passing of the Cold War era means that this movie is seriously disturbing. To a new generation, the all-annihilating power of the superpowers of the 1960s appears to have been based on disputes that appear petty in the extreme. Truly this movie makes us wonder what future generations will think of our fixation on modern ideologies; in an era that began three years ago with the late unpleasantness - and which is already making Francis Fukuyama's ideas, from the happy days of the 1990s, seem obsolete. He claimed that history was over; that free market ideology was the ULTIMATE ideology that would finally bring about an end to all future historical events by making us all live in peace.
That is SO 1995...

History is not over. Each generation seriously believes its own era is the ultimate era - that their own era is THE era whose disputes TRULY matter.

Well, history changes, as Strangelove shows us. I seriously hope that this movie makes us moderns think a little further before considering annihilating the world again! At least over something like fluoridation of water...

Satire at its best!
There are excellent reviews here about this movie, most of them rate it highly, and rightly so. It is no accident that this DVD is on average (at the time of writing) around 4.5 stars.
I must confess I did not know about Peter Sellers before watching this movie. I was recommended the movie by an 'artsy' friend - you know, the type of guy that thinks Citizen Kane is the greatest movie ever made - so I wasn't expecting too much, knowing how these types prefer style over substance.

I was pleasantly surprised. This is the type of film anybody can enjoy, it's seriously funny. It will probably have more meaning if you are familiar with the Cold War and the arms race, but if you don't know too much about that, the extras are a great help. There is one extra that deals with the making of the film, and how at the time of its production there was some subtle opposition to its release. Subtle in that the Air force was unwilling to lend it's expertise in the design of the B-52 bomber used in the film, and there was fear that its release at the time of J.F.K's death might have been seen as unpatriotic.

Well that's all behind us now, and we don't have to worry about the bomb so we can enjoy it more as a comedy than as a political message presented as satire. I must say that Peter Sellers is a genius; I couldn't tell when I first watched it that he was playing three roles! There are so many funny parts in the film and I don't want to spoil it for you by mentioning any. George C. Scott is also excellent and has some very memorable lines.

A bonus for me was that there was a language soundtrack in five languages; German, Italian, French, Spanish and English (off course) plus there were subtitles in more languages which is great for anyone trying to learn a new language.

I would highly recommend this film to anyone who loves satire and who appreciates jokes that aren't always below the belt.

"I think you're some kind of deviated pre-vert."
Some films have a timeless quality intrinsically inherent with the story, allowing for them to maintain a certain amount of relevance, despite the subject matter, or when they were made. This aspect holds true for many of Stanley Kubrick's films, in my opinion, and is true with this film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.

Directed by Kubrick, written by Kubrick and Terry Southern (Easy Rider), based on the serious novel Red Alert aka Two Hours to Doom by Peter George, and starring Peter Sellers, George C. Scott, and Sterling Hayden, Dr. Strangelove deals in a highly farcical and satirical manner the subject of nuclear proliferation, and proposed responses devised by men of power to perceived threats, whether they be based on reality, or founded from paranoia.

The film starts off with Brigadier General Jack D. Ripper (Hayden), commander of Burpelson Air Force Base, initiating Attack Plan R to his group, a plan created to allow someone other than the president to launch a nuclear counterattack in the event the enemy has managed to disrupt the normal chain of command, thereby preserving our response abilities despite significant loss of leadership. Only problem is, there has been no offensive put forth by enemies of America, and it turns out this issuance was completely unprovoked and the result of one who has basically lost his mind. Group Captain Lionel Mandrake (Seller, in one of three roles), a British officer participating in a officer exchange program, and, subsequently Rippers 2nd in command, realizes this, and must act before the B-52 bombers reach their destinations within the Soviet Union and deliver their atomic payloads, in turn setting off a new doomsday device conceived by the Soviets due to the fact that they were unable to keep up the United States in terms of arms proliferation, which, if activated, would cover the planet in a radioactive cloud for 100 years, destroying all life on Earth. Pretty heavy stuff, huh? One wouldn't think there'd be much humor to be found in a situation like this, but then one would be wrong...

The humor comes in the form of the absolute ludicrosity (it's not a word, as I just made it up) of the situation grown from the intense level of paranoia developed between democratic and communist powers after WWII and how, once things are set into motion, how safeguards meant to protect us basically work against that goal. It's really pretty funny to see what a mutated beast has been born of these fears, both perceived and real. Hayden Sterling is wonderful as the psychotic general with visions of communists infiltrating the very core of our democratic being, with his thoughts on 'precious bodily fluids', and conspiracies by the red menace to undermine and sap our strength. Peter Sellers is perhaps the standout in the film, playing three separate parts with such ability that I often unable to distinguish the actor from the characters within the film, seeing not an actor playing three separate parts, but only seeing three distinct characters in the British officer Mandrake, President Merkin Muffley "Gentlemen, you can't fight in here! This is the War Room", and finally ex-German scientist Dr. Strangelove "Of course, the whole point of a Doomsday Machine is lost if you keep it a secret! Why didn't you tell the world?", advisor to the President. One thing each of the characters does have in common is the Seller's comedic genius. His most memorable roles were those involving the bumbling Inspector Clouseau in the Pink Panther movies, but his skills shine through in his portrayal of three completely separate personalities, one straight-laced (Mandrake), another sort of bewildered but trying to maintain a sense of control (President Muffley), and a third hilariously over the top (Dr. Strangelove). Finally, there's George C. Scott's performance as the scheming, opportunistic, plotting and conniving, but all in the name of patriotism, General 'Buck' Turdigson "Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops. Uh, depending on the breaks". He completely reminds me of his lead role from the film Patton (1970), but in a very perverted, devolved manner. Great support roles include Slim Pickens Major T.J. 'King' Kong as the pilot of one of the B-52's, James Earl Jones as one of his crewmembers, and Colonel 'Bat' Guano as the leader of the force assigned to take control of Burpelson Air Force Base, and recover the recall codes from base commander General Ripper.

All in all, Kubrick has just an amazing style for relating a story to the audience. From his use of different formats of film to evoke a particular mood or convey a sense of feeling, i.e. the documentary style use for the actual fighting footage at the air force base, to the choice of music to enhance the tone set in the various scenes. It all works perfectly to create mock realism in spite of the comedic nature, presenting the essence of a black comedy.

The picture looks wonderful in this full screen format, and you will see that change from time to time as Kubrick used various aspect ratios in the film. As far as special features, there are quite a few of them, including a theatrical trailer, a featurette titled 'The Art of Stanley Kubrick: From Short Films to Strangelove', a documentary titled 'The Making of Dr. Strangelove', original split screen interviews with actors Scott and Sellers (this was done by having the actors answer pre-determined questions, and then local interviewers could be added in later asking said questions, making it look like they were interviewing the actors), promotional advertising gallery, and talent files. Some have called this 'The Greatest Black Comedy of All Time', and I would have little difficulty in arguing that...

(...) ... Read more

Amazon.com

Ever since the late '70s when the Australian New Wave was in full surge, DownUnder directors have delivered movies that often hit you like news from another planet. Offbeat characters, weird narrative twists, and a tartmixture of laughs and catastrophe--this is the juice that fuels such flicks as Proof, The Adventures of Priscilla, Queen of the Desert, Strictly Ballroom, Heavenly Creatures, and most certainly Muriel's Wedding. Directed by P.J.Hogan (who would go on to helm the Hollywood hit My Best Friend's Wedding),this little gem follows tradition by featuring an authentic misfit: Muriel(Toni Collette), a great overweight horse of a girl obsessed with gettingmarried and the music of ABBA. Appropriately, we first meet Muriel at awedding, all trussed up in a leopardskin number she's boosted for theoccasion. When her snotty peers insist that she give up the bridal bouquet tosomeone who might actually get hitched, when one of the guests turns out to be a clerk in the very store where Muriel ripped off her outfit--you gottalaugh, she's such an unmitigated mess. A loser, her philandering politician father (Bill Hunter) calls her--along with his doormat wife and his othercouch-potato offspring. But this movie's no exercise in geek-bashing. AsMuriel takes up with feisty Rhonda (Rachel Griffiths) and moves from PorpoiseSpit to the big city, her good-hearted grin and zest for life draw us indespite hilarious gaffes and mishaps. (Making out with a boy for the firsttime, Muriel suddenly finds herself awash in styrofoam: the oaf has unzippedthe beanbag chair instead of her skin-tight leather pants.) Muriel's Wedding covers territory Hollywood would banish from a comedy--Rhonda's cancer, thesuicide of Muriel's mother, a marriage of convenience to an arrogantathlete--yet, like its heroine, it never loses its sense of humor, its will to move on to whatever good thing might happen next. Everyone in theidiosyncratic cast is terrific, but it's Toni Collette's Dancing Queen whomakes Muriel's Wedding a cinematic celebration you won't forget. --KathleenMurphy ... Read more

Reviews (102)

One of the finest movies I've ever seen
Muriel Heslop is a young woman who dreams of getting married and moving far away from her boring life in Porpoise Spit, Australia. Unfortunately, even after her dreams do come true (and changes her name to Mariel), she discovers that while she has gained everything she has desired, she has also alienated herself from her family and her best friend Rhonda, and by the end of the film goes back to being good-ol' Muriel Heslop.

The performances in this film were excellent, especially Toni Collette in the lead (who gained a few pounds for her role), and future Oscar nominee Rachel Griffiths as Rhonda, a woman suddenly sticken with a potentially fatal illness.

Despite it's seemingly simple plot, it's a suprisingly rich and complex story. It's about a family on the verge of insanity, the value of friendship, and is a fable with a positive message: Be yourself, and you will like yourself for it.

Whether you like comedy or drama, you'll absolutely fall in love with this movie.

Unconventional comedy
This is one of those comedies that will make you laugh hysterically and then shut the audience up with a sudden tragedy. The story follows Muriel (Collette), an overweight ugly duckling who is ridiculed by her friends and her father but finds solace in ABBA songs and best friend Griffiths. Moving from her home town of Porpoise Spit she begins to find a new life for herself.

Fortunately this rites-of-passage drama doesn't lay it on heavy with the sentimentality. This brings about a conclusion that's nothing short of depressing but still poignant. The comedy is wonderfully crass, especially from Muriel's friends from Porpoise Spit and the sheer gaudiness of the whole movie is beautifully carried by all concerned. When Muriel's bridesmaids waddle up the aisle to an ABBA song, or Collette and Griffiths jubilently belt out tunes at a karaoke bar, you'll be laughing.

Given this, it's rare to find such comedy that will bring you crashing down to earth with suicide, cancer and an unhappy arranged marriage. This is one of those movies that will never make you cry; it will make you sympathise with its characters. It's certainly a great gift of Hogan's that he manages to pull both genres off so well at the same time.

But this wouldn't be half as good if it wasn't for Collette and Griffiths' magnificently crazy, emotional performances. 'Muriel's Wedding' should also be cheered for the fact that it doesn't succumb to typical Hollywood glitz and glamour. Muriel remains overweight throughout the whole movie, there's no 'Pygmalion'-like twist, it's the person that changes and perhaps that's what the movie is about. Completely unmissable.

Porpoise Spit Sheila's Move It On Over To Big City Sidney!
Australian writer/director P.J. Hogan's modern masterpiece, "Muriel's Wedding" serves up wedding cake with wheelchairs, confetti with cancer, ABBA with ardor, sweetness with stealing, and more importantly friends with foes in this one of a kind black comedy.

"Muriel's Wedding" not only launched P.J. Hogan's directing and writing career but gave a leg up to Toni Collette who agreed to pack on 30 lbs. for the once in a lifetime role of Muriel Heslop, citizen of small town Porpoise Spit, Australia. Rachel Griffiths from "Six Feet Under" also got her first shot playing Muriel's friend, wild child and general black sheep of Porpoise Spit, Rhonda Epinstalk. Rhonda and Muriel escape the small town and small people of Porpoise Spit for the big city lights and acceptance of Sidney, Australia.

A low self-esteemed wedding obsessed wannabe, Muriel lies, cheats and steals her way to her ultimate goal. Getting HITCHED! At least that's what Muriel thinks she desires, but all she wants is to truly be accepted by friends, family and her WHOLE world. Muriel's whole existence is based on "Why Can't It Be Me? Why Can't I Be The One?"

Muriel's parents, Bill and Betty Heslop, played by Aussie actors Bill Hunter and Jeanie Drynan both turn in excellent and believable performances. Especially Jeanie Drynan as the put upon mother who unconditionally loves her children and only wants to think the best of them.

Also featured are four judgemental and witchy women who are Muriel and Rhonda's former high school classmates. Some of the greatest comedy scenes take place between the six gals and are hilarious!

The film ALSO has a GREAT 70's soundtrack with the likes of:

Sugar Baby Love by The Rubettes
We've Only Just Begun by The Carpenters
Tide Is High by Blondie
Waterloo by ABBA
I Go to Rio by Peter Allen
I Just Don't Know What to Do With Myself by Dusty Springfield
Dancing Queen by ABBA
I Do, I Do, I Do, I Do, I Do by ABBA
and Happy Together by The Turtles

I highly recommend this film not just as a "chick flick" but a great and terrific movie that examines not only the comedic side of life but of true friendship, love and death...

Happy Watching And Go Porpoise Spit High!

Good Movie
Toni Collette plays an awkward, clumsy woman named Muriel who fantasizes about getting married and listens to ABBA. Living in Porpoise Spit, she has no life of her own. She, as well as her family, are mentally abused by the father, a philandering politician who will do anything to gain popularity. The group of women that she hangs around with, don't want her around because she doesn't live up to their standards--beautiful and stupid. While on vacation, she meets with a high school friend, Rhonda.
Before her performance in "Six Feet Under", Rachel Griffiths plays Rhonda, a high school friend of Muriel's who is transformed into a swan. The popular quartet accepts her but she rejects them because of their cruel treatment of her in high school. She and Muriel move to Sidney, and Muriel starts anew. But when Rhonda is hit with cancer, Muriel goes back into her dreams of being a bride. Muriel does marry but for the wrong reasons. Muriel is forced to confront herself, her family, and the people in her life that hurt her emotionally.
This movie deals with acceptance and Muriel had to accept that there were some things you could and couldn't change.

My favorite movie
*..*
I watched this wonderful movie about a year after it originally came out. I connected with the (very real lives of the) characters.

The story of a woman who discover the shollow ways of the people around her, Muriel's Wedding is one of those rare movies with deep messages.

Anyone who's ever had any kind of self issues will compeletely love it. Check it out. ... Read more

Description

Well, there goes the neighborhood -- in a pine box. When hit man Jimmy "The Tulip" Tudeski moves into a comfy suburb, everyone's suddenly in danger of pushing up daisies. And it's not all Jimmy's doing either. Jonathan Lynn (My Cousin Vinny) directs and a talented ensemble cast packs heat in this manic comedy about life, love and plenty of ammo. Bruce Willis plays Jimmy, whose arrival sparks a chain reaction in which just about everybody wants to clip somebody else. Matthew Perry plays a hapless dentist who finds a way to get on the Tulip's good and bad sides. And Rosanna Arquette, Michael Clarke Duncan, Natasha Henstridge, Amanda Peet and Kevin Pollak add to the yards of wacky and whacked fun. ... Read more

Reviews (147)

Great Mob Comedy
About a hitman named Jimmy "The Tulip" Tudeski(Bruce Willis) who moves next door to an unhappily married dentist(Matthew Perry). His arrival brings about many wacky occurences, and I must say they were extremely hillarious. The DVD is presented in full screen or widescreen. It also has a nice Dolby 5.1 sound mix, although this isn't one of those movies that sound is important in. The DVD has some cool features such as a feature-length audio commentary with director Jonathan Lynn, an interview gallery with the cast, a trailer, filmographies, and some nifty interactive menus. Very funny movie that I highly recommend to those looking for a good laugh.

Wish I could give it 5...
First of all, I have to say that Bruce Willis is my absolute favorite actor. I own just about every movie he's been in. But I don't think I will be buying this one! "The Whole Nine Yards" has a very strange plot. Basically, everyone wants to kill Matthew Perry, but he doesn't know it. Bruce Willis' and Matthew Perry's acting are great as usual, but for some reason this movie just doesn't "take-off" very well. The plot moved WAY too fast for me - one minute I had it figured out, the next minute it was changing again. I also did not care at all for Amanda Peet. While I think she is a good actress, her character in the movie is terrible! She is actually hired by Rosanna Arquette to pose as Matthew Perry's secretary so she will have a chance to kill him! And she has this sick infatuation with mob hitmen. Personally, I think that's a little on the weird side! There are funny moments - Perry's physical comedy being the best. Michael Clarke Duncan is good, too. In short, the acting is good, but the story goes nowhere.

Cleverly entertaining
While this may not be my absolutely favorite film with Bruce Willis ,it is still great. First off, all of the acting is significanly brilliant. But consider that a bonus, the story here is what really counts. I picked up this movie expecting it to be a half-decent, but still entertaining flick (considering I picked it up cheap). To tell the truth, I probably wouldn't have bought it if it wasn't rated R. However, it is an extremely mild movie. Consider it a PG-13 movie with an extensive nude scene. Either way, I was enthralled with how great the plot was. There were so many unexpected twists and genuinely hilarious dialogue, it made the movie extremely loveable. Take my word for it and get this movie, you won't be dissapointed.

Great Out of your mind FUNNY!
This film has a great funny quality. Matthew Perry and Bruce Willis are phenominal. Bruce Willis as Jimmy the Tulip and Matthew Perry as Oz.This is a must see movie

great cast, and great humor
Loaded with a great cast of actors!!!! The movie is set in Canada, all was calm untill a hit man moves into the house next door to Nick (Matt Perry). His wife a money hungry women decides to try to see if there is a price on Jimmys head for ratting out the boss. The hit man is Jimmy "The Tulip" (Bruce Wills) he is hiding out after turning in a head mob boss. And now the son of the head boss has taken over the company and wants Jimmy dead!!!

Nick sets off on a journey set up by his wife. Nick is off to try and locate the son of the boss to let him know of Jimmy living in Canada. Now things begin to get interesting Nick actually likes Jimmy and does not want to turn him over to the new boss. Nicks problem become worse when he later finds out that his wife is trying to have him killed too. The movie has a few twists and turns that make it great to watch.

This all around is a solid movie with great humor and a great cast!! ... Read more

Amazon.com

Set in Victorian England, Robert Hamer's 1949 masterpiece Kind Hearts and Coronets remains the most gracefully mordant of the Ealing comedies. Dennis Price plays Louis D'Ascoyne, the would-be Duke of Chalfont whose mother was spurned by her noble family for marrying an Italian singer for love. Louis resolves to avenge his mother by murdering the relatives ahead of him in line for the dukedom, all of whom are played by Alec Guinness. Guinness's virtuoso performances have been justly celebrated, ranging from a youthful D'Ascoyne with a priggish wife to a brace of doomed uncles and one aunt. Miles Malleson is a splendid doggerel-spouting hangman, while Valerie Hobson and Joan Greenwood take advantage of unusually strong female roles. But the great joy of Kind Hearts and Coronets is the way in which its appallingly black subject matter (considered beyond the pale by many critics at the time) is conveyed in such elegantly ironic turns of phrase by Price's narrator/antihero. Serial murder has never been conducted with such exquisite manners and discreet charm. --David Stubbs ... Read more

Reviews (97)

Leary fans rejoice!
Denis... ah, you whimsical angry poet. He's at his best in this one, folks! A burglar (and a good one) forced into taking hostages in order to escape a slightly botched robbery, finds himself held hostage by his prey! In his own words, "I've kidnapped my parents!" This was also before Kevin Spacey was REALLY famous, too, so you know there's some good acting involved. Not all around, I will admit, the son is a bit tenuous and immature. Some of the characters a little dry, but that actually changes later in the movie. The star, of course, is Denis. Riding close behind him, though, are Spacey and Judy Davis, the bickering couple Leary is stuck with.

Spacey and Davis play off each other beautifully in this film, as a couple in DESPERATE need of marriage counseling. They have both lost sight of why they married in the first place, are stuck in life-ruts, and are considering a divorce. Then, Leary steps in and the fur starts to fly. I can't say too much without giving it away, but it's a witty and slightly warm movie about rediscovery and re